Επεξεργαστές Ήχου

Το TK Audio TEQ είναι ένα dual-mono EQ βασισμένο στο κλασικό κύκλωμα Baxandall της δεκαετίας του 1950, αγαπητό από τους μηχανικούς για τον ομαλό και φυσικό ήχο του. Με διακόπτες cut/boost 21 θέσεων, επιλογή peak/shelving και 10 συχνότητες για κάθε μπάντα, το TEQ επιτρέπει στον χρήστη να λεπτομερειώνει τον ήχο με cut/boost μέχρι 0,25 dB στα αρχικά στάδια. Οι ρυθμίσεις cut/boost διαθέτουν διακόπτη εκτεταμένου εύρους, προσφέροντας μέγιστο εύρος μέχρι ±8 dB. Τα HPF και LPF χρησιμοποιούν φίλτρα 12 dB με 6 συχνότητες το καθένα και κοινό έλεγχο για τα αριστερά/δεξιά κανάλια. Παρέχεται επίσης λειτουργία M/S, ώστε να μπορείτε να επεξεργαστείτε το Mid και Side με διαφορετικές ρυθμίσεις EQ.

The One and Only Distressor — in Special Anniversary LiveryThe Empirical Labs 30th Anniversary Distressor EL8-XXX adds a distinctive new red faceplate to the legendary digitally controlled analog compressor/limiter. Like its stablemate, this limited edition provides seven compression ratios plus the brickwall Nuke ratio for an unprecedented degree of signal-shaping flexibility. While the Distressor can function very smoothly and transparently, its British mode mimics the hyper-aggressive behavior of a certain beloved vintage FET limiter in its infamous “all buttons in” mode, giving you, essentially, two compressors in one. But there’s only one Distressor. Pick up the Empirical Labs 30th Anniversary Distressor EL8-XXX and put it to work on your next project. Trust us: you’ll be amazed — and delighted!Unprecedented dynamics control for your studioThe Distressor EL8-XXX offers 1:1, 2:1, 3:1, 4:1, 6:1, 10:1, and 20:1 compression ratios. Of special note is the 10:1 ratio, which employs separate detector circuitry to emulate the oldest (and still highly prized) light-controlled compressors. Beyond 20:1 limiting, the Distressor offers a “Nuke” ratio that presents once-frisky signals with an impenetrable, solid brick wall. Collectively, the eight ratio settings give you generous dynamics-control leeway from gentle, unobtrusive peak leveling to full-on brickwall limiting, but the Distressor packs another sonic surprise in the form of British “all buttons in” mode.Explosive “all buttons in” modeDeployed on the right source — drum room mics, for instance — British mode can trigger warped, explosive results akin to a seismic event in your control room. Symptoms may include increased distortion, a plateaued slope on initial transients, and extended lag time — kind of like a funhouse mirror for audio. It’s a unique effect that, when used judiciously, can transform a source from the mundane to the sensational. All things considered, the Empirical Labs EL8-XXX 30th Anniversary Distressor delivers an unprecedented degree of dynamics control at a price any studio can afford.Empirical Labs EL8-XXX 30th Anniversary Distressor Features:Digitally controlled analog compressor/limiterChoice of 1:1, 2:1, 3:1, 4:1, 6:1, 10:1, 20:1, and “Nuke” ratios“All buttons in” British mode switch with LED indicatorInput, Attack, Release, and Output controls2 highpass filters (1 in the audio path, 1 in the detector path)LED gain-reduction meteringRedline and 1% THD LED indicatorsStereo Image Link switchHard bypass buttonRugged steel 1U chassis

Unlimited Sound Shaping with the RND OptoFETSince the late 1950s, optical-based leveling amplifiers have been cherished for their unobtrusive and highly musical dynamics control. A decade later, FET compressor/limiters, prized for their speed and precision, would become fixtures in top recording studios worldwide. Today, processing a signal through both types of compression is a common technique used in tracking, mixing, and mastering. Wouldn’t it be great to have it all in one convenient unit? That dream is now a reality. Featuring a newly designed FET compressor circuit and an optimized optical compressor circuit, plus harmonic enhancement and a comprehensive control set with Dual Stage and Dual Band modes, the Rupert Neve Designs OptoFET delivers virtually unlimited signal-shaping potential for the modern era.Comprehensive control for unprecedented flexibilityAn amazingly versatile analog compressor and waveshaper, the Rupert Neve Designs OptoFET compressor offers both optical-based and FET-based compression — plus harmonic enhancement — in a sleek 1U chassis. Each compressor features a comprehensive control set that includes Attack, Release, Threshold, and Ratio (switchable between 4:1 and 8:1 for the FET, and gentler 2:1 and 5:1 ratios for the Opto). Each section also includes dry/wet Blend, Gain, and a switchable 125Hz sidechain highpass filter, plus Grit and Bloom switches (for the FET and Opto compressors, respectively) that boost appropriate harmonic content when engaged.On the left-hand side of the front panel is the Input gain control and a Signal LED that illuminates green for signal present and red for impending clipping. The right-hand side hosts an Output control and LED meter, plus a Power LED that illuminates green when the unit is switched on. Having access to ±12dB Gain controls for input and output, as well as for each compressor, gives you absolute mastery over your gain staging, allowing you to drive the stages for harmonic content and apply makeup gain as needed for an optimized signal chain.Dual Stage and Dual Band modes: unleash the beastThe front panel sports a clean, intuitive layout with the FET and Opto compressor sections flanking a central global section that is key to maximizing the unique flexibility of this unit. In Dual Stage mode, the Flip switch toggles the order of the compressors in the signal chain, which — without changing any other settings — can make a surprisingly dramatic difference in the sound of your source material. The X-OVER IN switch puts the OptoFET into Dual Band mode, engaging the crossover filters and the corresponding crossover frequency-selection pot. In this mode, each compressor is assigned to either the LF or HF band, facilitating independent processing of both bands simultaneously.The variable Crossover control lets you dial in where the crossover is applied, from 50Hz to 500Hz. The Flip button also functions in Dual Band mode, assigning the FET or Opto to process either frequency band as selected. This can be particularly useful for bass sources, giving you complete control over the bottom end while boosting mids and highs for the ideal amount of string noise and texture. Whether you simply use the FET and Opto compressors in series or as a powerful, frequency-dependent tone-shaping tool, the Rupert Neve Designs OptoFET provides massive creative control that makes it easy to enhance your recordings with everything from transparent vocal smoothing to extreme envelope shaping with stunning harmonic texture.MIL-Spec build quality in the Rupert Neve traditionIn keeping with the Rupert Neve legacy of military-grade parts and build quality, the OptoFET features a robust, all-metal chassis fitted with top-drawer switches and stepped, 31-detent pots, which allow for precise, confident parameter settings and quick, accurate recall. The rear panel is fitted with Neutrik XLR combo jacks for line Input and Output. OptoFET also employs an electronically balanced input stage and a custom RND transformer-coupled, balanced output — a critical component of the authoritative Rupert Neve sound. A 100VAC–240VAC, 50Hz/60Hz IEC-standard 3-pin grounded mains receptacle with power switch, and a ground-lift switch that disconnects pin 1 of the XLR line output from the chassis ground complete the rear-panel layout.The legend continuesRupert Neve Designs is the company founded by legendary console designer Rupert Neve. Rupert’s 80-series consoles had a huge, punchy, and authoritative sound that defined ’70s rock. From London to New York to Los Angeles and beyond, top studios installed Neve boards as fast as possible. By 1977, with the introduction of the NECAM automation system, Neve consoles were the main component of the success formula for any recording studio with world-class aspirations. Today, Rupert Neve Designs continues to advance the state of the art with cutting-edge products that sound incredible and intelligently address the challenges of the digital age.Rupert Neve Designs OptoFET Features:Dual-stage FET/Opto compressorNewly designed field-effect transistor compressorOptimized optical compressorIndependent, comprehensive control sets for each compressorDual Stage and Dual Band modes provide immense versatilityDual Band mode with Crossover control allows each compressor to process LF and HF frequency bands independentlyGrit and Bloom modes enhance harmonic content and allow for source waveshapingFlip switch toggles the order of the compressors in the signal chainBlend controls for each compressor for easy parallel processingProvides unprecedented dynamic and harmonic controlGlobal Input and Output trims for complete control over gain staging and harmonicsCombine 2 units for extremely flexible dual-mono processing of stereo sourcesRobust steel 1U chassisDesigned and crafted in the USA

Η A4-1B συνδυάζει τον θρυλικό ήχο και τον σχεδιασμό ενός αναλογικού Opto-Tube compressor με σύγχρονες βελτιώσεις στη ροή εργασίας. Ζήστε τη χαρακτηριστική επεξεργασία ήχου hardware ή προχωρήστε ένα βήμα παραπέρα, αποκτώντας πρόσβαση σε μια σειρά σύγχρονων λειτουργιών. Η A4-1B σχεδιάστηκε ώστε να διατηρεί την πολυβραβευμένη ομαλότητα και μουσικότητα των vintage Opto-Tube μονάδων. Ακόμη και όταν ωθείται στα όριά της, ο συμπιεστής παραμένει διαφανής, χαρίζοντας νέα πνοή σε φωνητικά, μπάσο, πλήκτρα ή κρουστά. Η A4-1B ακούγεται και ανταποκρίνεται ακριβώς όπως το θρυλικό hardware που την ενέπνευσε, επιτρέποντάς σας να εφαρμόσετε τον εμβληματικό ήχο της Opto-Valve συμπίεσης στη σύγχρονη παραγωγή σας.

Get That Authoritative, Professional SoundNow in its third iteration, the ever-popular SPL Track One MK3 Premium channel strip has been extensively updated with upgraded specs and a more intuitive design optimized for the modern recording studio. This version of the Track One MK3 Premium is spec'd with premium Lundahl input and output transformers for that authoritative "big-iron" sound that leaps right out of the speakers. From broadcasting and voiceovers to music recording, podcasts, and live events, Track One MK3 Premium always delivers superior sonics, enhancing vocals and instruments from any source, be it mic, line, or DI. The stellar mic preamp provides plenty of gain for your mics and instruments, and SPL's acclaimed De-Esser is onboard for taming sibilant vocalists. Optimize your dynamics with the compressor/limiter, sweeten your tone with the 3-band EQ, and you've got radio-ready sound from the SPL Track One MK3 Premium channel strip.Your solution for fast, high-quality recordingsThe beauty of the SPL Track One MK3 Premium channel strip is that it's amazingly fast to dial in a great sound with virtually any source. The built-in processing is perfect for adding that extra studio polish without having to patch in external processors or bounce audio through plug-ins.Capture better vocals with the built-in De-EsserThe SPL De-Esser is considered an essential tool in countless studios, and it's built right into the SPL Track One MK3 Premium channel strip. It's known for removing harsh sibilance from vocalists in a natural, musical way, serving up transparent results even at extreme settings. One thing you'll find especially useful is the SPL De-Esser's automatic threshold-adjusting function. It basically compensates for a singer's varying distance from the mic, applying de-essing even with the signal is lower so that compressing afterward doesn't bring lower sibilants back up in level.Compressor/Limiter controls dynamics and adds characterThe Track One's compressor/limiter is an extremely easy-to-use one-knob design utilizing time constants (including attack and release) that are automated adaptively to the input signal, allowing for simple set-and-forget operation. Pressing the Limiter button switches the compressor into limiter mode, with the threshold being set by the compression knob. Like the compressor, SPL’s soft limiter is unobtrusive and delivers consistent, highly musical-sounding results. A separate makeup gain knob is provided for maintaining proper gain structure in your signal chain.Combine two for stereo operationFor maximum flexibility in your studio, get two SPL Track One MK3 Premium channel strips and link them for stereo compression. You'll be able to record beautifully wide stereo tracks and get true stereo compression with just one set of controls. Best of all, the EQs will still be independent, so you can fine-tune the stereo image simply by using slightly different EQ settings on each side.SPL Audio: supercharged audio productsFormed in Germany in 1983, SPL Audio has been at the forefront of the pro audio industry since its inception. Other revelatory inventions SPL has become known for include level-independent envelope processing and using phase cancellation in auto-dynamic de-essers for reducing sibilance.

Legendary sound in rack formatThe SSL Revival 4000 brings the unmistakable character of the famous SSL 4000 consoles to a 19-inch rack unit. Based on the circuits of the legendary B and E series, the channel strip combines the typical SSL sound that has shaped countless world hits. With a transformer-based microphone preamp, versatile sound tools and flexible routing options, the Revival 4000 is a modern reinterpretation of an icon. Microphone preamplifier with Jensen transformer At its heart is the classic SSL 4000E preamp with the original Jensen JT-115K-E transformer. This discrete transistor circuit provides a clear, detailed signal with impressive dynamics and minimal inherent noise. Functions such as switchable phantom power, polarity invert and a switchable -20dB PAD extend the range of applications and make the Preamp the perfect basis for any recording.

Authentic Stereo Mid/Side Processing in a Studio-Grade 500-Series ModuleThe Harrison Audio 32Classic MS Mix Strip brings legendary broadcast and mastering tonal character to your Mid/Side processing needs, all housed within a sleek and versatile 500-series format. Whether you’re enhancing vocals, enriching stereo depth, or fine-tuning mix balance, this module delivers warm analog color and precision control for live and studio applications alike.Key Features:Full-featured Mid/Side processing with dedicated Mid gain, Side gain, and optional balance controlHarrison’s renowned tonal character: rich, open mids and musical high-frequency enhancementCompact, rack-mountable 500-Series module—perfect for integration into any modular setupBypass switch for instant A/B comparison between MS processing and direct signalInput overload LED for accurate gain staging and visual feedbackElegant, road-ready build with sturdy metal construction for consistent performance under pressure

KompressorPhantom powered FET-OPTO compressor for ribbon and dynamic microphonesAt Triton Audio, we understand that great sound shouldn’t be complicated. That’s why we’ve engineered a compressor that simplifies the process without compromising on quality. Designed with both seasoned audio engineers and beginners in mind, Kompressor offers a one knob solution that makes achieving the perfect compression effortless. Perfect for home studios, podcasts, and professional recording environments. Compression made easy.OperationYour Kompressor will latch straight onto any XLR equipped microphone, or anywhere else in the signal path between microphone and preamp/mixer. The electronics are housed in a robust metal chassis with a balanced XLR input and output. Kompressor is powered by 48V phantom power.How to useKompressor adds 25dB of gain, which decreases as more compression is dialed in.Our design features a single knob that adjusts compression levels from Less to More. An orange LED inside the knob indicates when the signal reaches the compression threshold. If the LED flashes, it signifies light to medium compression; a continuously lit LED suggests heavy compression, which can be desirable for specific uses, such as on a drum room mic.Due to the one-knob design, compression levels will vary depending on the microphone’s output. For example, with a low-output dynamic microphone like the Shure SM7B, the compression effect is more subtle. In contrast, higher-output microphones such as the Shure Beta58 or a Beyerdynamic M88 can trigger more pronounced compression. For really loud sources we recommend to use an AirHead.Protects the microphoneSome older ribbon microphones do not tolerate phantom power. Kompressor uses phantom power to power its circuitry, but doesn’t pass phantom power to the microphone, so rest assured your ribbon mics are safe.

The Avalon VT-737SP is a channel strip featuring a combination of tube preamplifiers, opto compressor, sweep equalizer, output level and VU metering in a 2U space.PREAMPLIFIERThe VT-737SP has three input selections:The VT-737SP features a higher-performance microphone input transformer with +48V phantom selectionInstrument DI high source input with jack located on front panelBalanced line input, discrete high-level Class AThe Class A preamplifier utilizes two cascaded, dual vacuum tube triodes configured with minimum negative feedback. A high gain switch boosts the overall gain of the preamplifier. The four high quality tubes are configured as singled ended anode coupled followers. A passive-variable high pass filter and hard-wire relay bypass completes the input signal conditioning. The phase reverse relay is available on all three inputs.OPTO COMPRESSORThe opto compressor features a minimum signal path design with twin Class A vacuum tube triodes for gain matching. The optical attenuator acts as a simple passive level controller. Full dynamic control from soft compression to hard- knee limiting can be achieved with threshold, ratio-compression, attack and release controls plus gain reduction selection on the large VU meter. Special spectral control including de-ess is available with the dual sweep mid EQ to side-chain switch. The EQ section can be flipped pre or post the opto compressor via a front panel switch for alternate effects and tone shaping. Two VT-737SPs can be linked via a rear panel link cable for stereo tracking. The compressor bypass is a sealed silver relay for the most direct signal path.SWEEP-EQUALIZER AND OUTPUT LEVELThe VT-737SP equalizer utilizes 100% discrete, Class A high-voltage transistors for optimum sonic performance. The high and low frequency bands provide the smooth characteristics of an all passive design, while the dual mid bands include variable frequency and switched Q-width selection. The enhanced range of the mid bands is extended into the high and low bands by the use of X10 frequency multipliers. The bypass switch incorporates a sealed silver relay for the most direct signal path. When the EQ to sidechain is engaged, the high-low EQ remains in the audio path for "tone enhancement." The output level control provides a variable control of the overall signal path. The output amplifier utilizes another dual triode vacuum tube driving a 100% discrete, Class A, high-current, balanced and DC coupled low noise output amplifier.FEATURES:Vacuum tube triode signal pathTransformer balanced microphone inputHigh-voltage circuits for maximum headroom to +30 dBLow noise -92 dBInternal discrete power supply with toroidal transformerSoft-start tube life extenderStereo link for compressorsAll discrete Class A equalizer with musical passive filter designSealed silver relays for signal routingLarge control knobs with professional conductive plastic potentiometersVU meter for output level monitoring and compressor gain reduction

The SPL IRON Tube Mastering Compressor comes in a new revision with features improving operation and sound. This updated hardware revision can be recognized by the “IRON v2” labeling on the serial number sticker. IRON v2 now has Side Chain Inserts with XLR sockets instead of Side Chain Inputs with TS sockets only. See picture below.SPL IRON combines not only the sonic virtues of legendary vintage tube compressors with the advantages of the High Dynamic 120V operating voltage in a single unit. It is also perfect for the needs of modern mastering studios and sets a new benchmark in terms of tube compressor technology, with the innovative implementation of a parallel dual-tube circuit.Thanks to the especially conceived Mu-Metal iron transformers, the signal of each channel is split across two different twin-triode tubes. The combination of the different response curves of both tubes results in a transparent and musically pleasant compression. Additionally, peak signals of the control voltage are limited by a feed-forward resistive vactrol-opto-isolator. Thus, the output signal remains lively even with a high gain reduction. The compression is only noticeable with extreme settings.Mastering is not the only domain where the IRON sets new standards. It can also be used to process individual instruments, like vocals, bass, guitar, strings, etc. The IRON is also an excellent option for subgroups.Balanced Side Chain Inserts are now standard using send and return XLR sockets instead of Side Chain Inputs with TS sockets only. That makes it easy to add an equalizer of choice into the control voltage path to create individual filter curves to focus the response of the compression to certain frequency ranges.IRON v2 is now equipped with Wathen CryoTone 12AX7-WCM Long Plate tubes. These are the perfect match to the parallel connected 12AU7 tubes in its circuit, which results in an improved sound and longevity.COMPRESSORThe basic operating principles of a compressor/limiter can be easily explained. The level of an audio signal is reduced according to the specified attack time and ratio whenever it exceeds a given threshold. This reduction ceases when the release time elapses, while the compressed signal is amplified with the make-up gain.Compressors basically differ from each other in the technology used. This technology - tubes, opto, FET, or VCA - is what gives a compressor its particular character. Some units sound soft and silky, some sound pounding, while some others make sound fatter, and there are those that make sound clearer, harder or more percussive. The trick resides in how the unit is technically designed, in the signature of the maker. Different compressors with the exact same settings might work and sound completely different. They provide different sounds for different applications and music styles.Nowadays, the compressor has become a key element when it comes to provide dynamics and punch to any production. The number of compressors available is huge and it‘s easy to succumb to the promises made by software emulations and analog recreations of vintage gear as the perfect solution. Unfortunately, many of these emulations and recreations differ quite a bit from their original counterparts. You must simply accept that the components used today, like the transformers, tubes and all other passive elements, are different to the ones originally used and that they can‘t be digitally emulated. No software (DSP-emulated compressors) or hardware replica will ever be able to sound like the original. An authentic sound can only be achieved with the original unit.VARIABLE BIASThe IRON mastering compressor was conceived as a variable-bias limiter/compressor right from the start. However, the implementation of new technologies results in many improvements. Its basic operating principle as a variable-bias tube compressor was loosely inspired by the sonic and technical operation of Fairchild, Collins and Gates compressors, which used remote cut-off of tube biasing to achieve a well-balanced, well-compensated and musical compression.However, the IRON compressor features a second sharp cut-off tube, a medium-variable bias triode, in its circuit design. This tube is connected in parallel to the remote cut-off tube and it has a considerably steeper characteristic curve. The tube used to process the signal depends on the amplitude of the latter. This results in a more well-balanced sound and more controllable settings of the parameters. The pair of parallel connected tubes has been specially matched for the IRON. In order to guarantee that tube selection and pairing is perfect, we use the Weigl Roe Test for PC. The optimal selection of the tubes guarantees that all IRONs have the same sonic characteristics.TUBE BIASThe Tube Bias has three different settings. Together with the Input Gain of up to ±12 dB and the Threshold control, it allows the compression behavior of the tubes to be perfectly adapted to any material. The Attack and Release parameters have six different settings ranging from Slow to Fast. The times are not constant, they vary according to the Rectifier circuit selected: There are six different Rectifier settings available with different diodes (germanium, silicon, LED, mixed).MU-METAL TRANSFORMERMoreover, we use Lundahl custom-made balanced high-level dual-coil mu-metal iron transformers in the signal flow of the variable-bias tubes, which add to the overall sound.VACTROL PEAK LIMITERThe second new technology implemented is the independent feed-forward resistive opto-isolator in the control path of the variable-bias tube circuit. Its function is to limit signal peaks and, thus, get a smaller THD (Total Harmonic Distortion) within the variable-bias tube section. The result is a silkier, more homogeneous sound in the higher frequencies of the music signal. This circuit has its own rectifier in the signal path. The optical control element does not work in the sense of an audio limiter, like in a conventional opto-compressor. It is built-in in the control path of the parallel connected variable-bias tube, not in the audio path itself. Time control parameters, like attack and release time, are adaptedand fixed to the variable-bias tube circuit.The IRON compressor works as a feedback compressor when set to the variable-bias tube circuit and as a feed-forward compressor when set to the opto-control circuit.RECTIFIERSThirdly, the complex rectifier circuit is also worth mentioning, since it is the basis for tube control. You can use the six-position switch to choose either of the six different control characteristic curves of the diodes within the rectifier. Given the specific characteristic curve of its elements, the combination of germanium, silicon and LED diodes produces different behaviors and characteristics for the Attack and Release times.STEREO LINKThe fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.In stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.AIR BASS AND TAPE ROLL-OFFThe fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.In stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.EASY RECALLAll functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometer, making it easy to replicate exact settings.SIDECHAIN EQThe Sidechain EQ is yet another option to adjust the Iron to the signal being processed in an optimal way. It allows you to choose between an external EQ or one of the four internal EQ presets. The EQ presets have a complex frequency response and have been conceived with different program material in mind. Only the control signal is affected, not the actual audio signal. In the Off position, the Sidechain EQ is inactive.OUTPUTAfter the compression stage, the signal can be boosted or attenuated up to +/- 12dB with the Output Gain, which makes the IRON easy to integrate into any signal chain.AUTO BYPASSBoth the left and right channels have separate illuminated activating switches. Further, in Auto Bypass mode you can use the Interval control to set a time frame during which the compressor automatically toggles back and forth between the processed and unprocessed signals. This makes AB comparisons between the original and compressed signals a breeze, besides making it easier to assess the settings in context.FEATURES:Variable bias tube compressorParallel dual tube circuitTube selection and pairing with Weigl Roe TestSpecially conceived Mu-Metal iron transformersFeed-forward resistive vactrol-opto-isolatorSix different Rectifier settings availableSidechain that allows you to choose between Off, four sidechain-filter presets or an external sidechain signal.All functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometerIn Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit.Additional passive 120 V equalizer with two presetsHigh Dynamic 120 V operating voltageAuto Bypass modeMade in Germany

Precision pulses breathe new life into Digital Audio. A new master clock generator for the Hi-Res era.Features at a glanceHigh-precision "TEAC Reference OCXO" – an ‘oven-controlled’ crystal oscillator±3 ppb frequency temperature characteristics±0.1 ppm frequency precision4 x 10MHz clock output connectors (gold-plated BNCs)Completely independent and isolated circuitHigh capacity toroidal-core power transformerAn iconic OVEN STATUS gauge for oscillation stability monitorDimmable backlight color matching with the Reference 505 amplifiersPatent-registered ‘Pin-Point’ feet to minimise vibrations*Three feet for the perfect supportFull-metal body to eliminate incoming electromagnetic noiseDetachable 3-pole IEC power socketCompatible with TEAC UD-701N, UD-505-X, NT-505-X, UD-505, NT-505, UD-503 and NT-503Compliant with RoHSNew Reference OCXO – an Oven-controlled Crystal OscillatorSince temperature has a huge effect on accuracy of the crystal oscillator, minimising temperature changes and maintaining it at an ideal level are extremely important in order to generate an accurate clock signal. The CG-10M-A employs an innovative oven-controlled crystal oscillator, the TEAC Reference OCXO to reduce oscillation frequency fluctuations caused by temperature changes.A class-leading ultra high-precision clockThanks to the TEAC Reference OCXO, the CG-10M-A delivers an ultra high-precision 10MHz clock signal – within ±3 ppb of frequency temperature characteristics and within ±0.1 ppm of frequency precision – to USB DACs and digital players. A unique laser-engraved serial number and the TEAC Reference OCXO logo on every OCXC case is proof of the rigorous quality inspection undertaken during the manufacturing process.ppm=10-6, ppb=10-9Frequency temperature characteristics: A value of frequency fluctuation caused by temperature changeFrequency precision: An actual frequency rangeFour BNC clock output connectorsFour gold-plated BNC connectors (50 ohms) are provided to deliver clock signals to multiple devices. Up to four devices that support a 10MHz input may be connected simultaneously, including USB DACs, network players and SA-CD players.Independent and isolated circuit designEach circuit in the CG-10M-A – from the power supply section to the buffer-amp at the output stage, – is completely isolated to prevent cross-interference when multiple devices are connected to the BNC connectors.By incorporating a buffer-amp into each circuit, no degradation of the signal waveform occurs when the generated clock signal is shared by several devices.Oven Status Gauge for clock stability monitoringThe OVEN STATUS analogue gauge located in the middle of the unit, a TEAC trademark in recent years, shows the stability of the crystal oscillator when in use. As the temperature of the oven that contains the crystal oscillator reaches to the ideal temperature for accurate clock generation, power consumption of the oven decreases and the gauge points to zero, signaling to the user that the digital processing on the connected device is now controlled by an extremely accurate 10MHz clock signal.The gauge is a backlit-type with a dimmer control (including the ability to completely switch the backlight off).* The oscillator is usually stable about 2 minutes after the power is turned on. However, at least 10 minutes are necessary for the clock to reach an ideal condition.Toroidal-core power transformerA high-capacity, toroidal-core power transformer constantly supplies a constant, stable current that contributes greatly to the efficacy of the crucial clock generation and its subsequent high-precision output.Three-position, patented ‘Pin-Point’ feet for perfect stabilityThe CG-10M-A employs TEAC's patented ‘Pin-Point’ feet. These ingeniously comprises two separated metal sections in a in an integrated housing. One is has a spiked top and is attached to the bottom of the chassis, the other is a basin-shaped base that hangs down from the spiked section with a flange-shaped cup to simply installation.Three ‘Pin-Point’ foot are used for support, two at the front and one at the rear, for excellent stability, even on an uneven floor.As a result, the three ‘Pin-Point’ feet help improve the accuracy of clock oscillation by minimising vibrations and resonance. This, in turn, reduces mid and low frequency muddiness, improves the soundstage and enhances fine sound detail.* Japan patent No. 4075477 and No. 3778108A robust full-metal chassis, combined with an A4-size footprintDesigned to match the successful Reference 500 series, the CG-10M-A features aluminum panels and a robust metal chassis (that also isolates it from electromagnetic noise).with a compact A4-size footprint that will fit anywhere.

Precision pulses breathe new life into Digital Audio. A new master clock generator for the Hi-Res era.Features at a glanceHigh-precision "TEAC Reference OCXO" – an ‘oven-controlled’ crystal oscillator±3 ppb frequency temperature characteristics±0.1 ppm frequency precision4 x 10MHz clock output connectors (gold-plated BNCs)Completely independent and isolated circuitHigh capacity toroidal-core power transformerAn iconic OVEN STATUS gauge for oscillation stability monitorDimmable backlight color matching with the Reference 505 amplifiersPatent-registered ‘Pin-Point’ feet to minimise vibrations*Three feet for the perfect supportFull-metal body to eliminate incoming electromagnetic noiseDetachable 3-pole IEC power socketCompatible with TEAC UD-701N, UD-505-X, NT-505-X, UD-505, NT-505, UD-503 and NT-503Compliant with RoHSNew Reference OCXO – an Oven-controlled Crystal OscillatorSince temperature has a huge effect on accuracy of the crystal oscillator, minimising temperature changes and maintaining it at an ideal level are extremely important in order to generate an accurate clock signal. The CG-10M-A employs an innovative oven-controlled crystal oscillator, the TEAC Reference OCXO to reduce oscillation frequency fluctuations caused by temperature changes.A class-leading ultra high-precision clockThanks to the TEAC Reference OCXO, the CG-10M-A delivers an ultra high-precision 10MHz clock signal – within ±3 ppb of frequency temperature characteristics and within ±0.1 ppm of frequency precision – to USB DACs and digital players. A unique laser-engraved serial number and the TEAC Reference OCXO logo on every OCXC case is proof of the rigorous quality inspection undertaken during the manufacturing process.ppm=10-6, ppb=10-9Frequency temperature characteristics: A value of frequency fluctuation caused by temperature changeFrequency precision: An actual frequency rangeFour BNC clock output connectorsFour gold-plated BNC connectors (50 ohms) are provided to deliver clock signals to multiple devices. Up to four devices that support a 10MHz input may be connected simultaneously, including USB DACs, network players and SA-CD players.Independent and isolated circuit designEach circuit in the CG-10M-A – from the power supply section to the buffer-amp at the output stage, – is completely isolated to prevent cross-interference when multiple devices are connected to the BNC connectors.By incorporating a buffer-amp into each circuit, no degradation of the signal waveform occurs when the generated clock signal is shared by several devices.Oven Status Gauge for clock stability monitoringThe OVEN STATUS analogue gauge located in the middle of the unit, a TEAC trademark in recent years, shows the stability of the crystal oscillator when in use. As the temperature of the oven that contains the crystal oscillator reaches to the ideal temperature for accurate clock generation, power consumption of the oven decreases and the gauge points to zero, signaling to the user that the digital processing on the connected device is now controlled by an extremely accurate 10MHz clock signal.The gauge is a backlit-type with a dimmer control (including the ability to completely switch the backlight off).* The oscillator is usually stable about 2 minutes after the power is turned on. However, at least 10 minutes are necessary for the clock to reach an ideal condition.Toroidal-core power transformerA high-capacity, toroidal-core power transformer constantly supplies a constant, stable current that contributes greatly to the efficacy of the crucial clock generation and its subsequent high-precision output.Three-position, patented ‘Pin-Point’ feet for perfect stabilityThe CG-10M-A employs TEAC's patented ‘Pin-Point’ feet. These ingeniously comprises two separated metal sections in a in an integrated housing. One is has a spiked top and is attached to the bottom of the chassis, the other is a basin-shaped base that hangs down from the spiked section with a flange-shaped cup to simply installation.Three ‘Pin-Point’ foot are used for support, two at the front and one at the rear, for excellent stability, even on an uneven floor.As a result, the three ‘Pin-Point’ feet help improve the accuracy of clock oscillation by minimising vibrations and resonance. This, in turn, reduces mid and low frequency muddiness, improves the soundstage and enhances fine sound detail.* Japan patent No. 4075477 and No. 3778108A robust full-metal chassis, combined with an A4-size footprintDesigned to match the successful Reference 500 series, the CG-10M-A features aluminum panels and a robust metal chassis (that also isolates it from electromagnetic noise).with a compact A4-size footprint that will fit anywhere.

BAE 1028 Mic Pre and EQ Pair with PSUThe BAE 1028 is a mic preamp with 3-band EQ inspired by the legendary 1073 with extensive additional frequencies.The BAE 1028 Mic Pre and EQ (Pair) uses the exact same mic and line preamp as the 1073 with Carnhill (St Ives) Transformers to give the true vintage tone associated with this legendary preamp.In addition the 1028 features no less than 28 frequencies including the same Low pass filter found on the 1084 module. The additional frequencies are located in the mid-bell and high shelf bands with frequencies selected to allow for greater flexibility with the mid bell able to play against the low and high shelves for rich, flexible and musical tonal shaping capabilities.FeaturesInspired by the legendary 1073Class A transformer-coupledHand-wired, all-discrete using modular cardsThree-band with HPF28 total frequency points with mid band overlappingExtended selection for high frequency shelvingHigh quality Swiss-made Elma® rotary switches

BAE 1073 Single Channel Mic Pre / EQ W/power supplyThe BAE 1073 is as authentic as you can get to the original, featuring the same St Ives (Carnhill) transformers as the vintage modules, Elma switches and Canford wire.The BAE 1073 looks identical to the original vintage module and will happily retrofit in vintage Neve 80 Series consoles because the entire product is engineered in exactly the same way as the originals: the same chassis construction, connectors, printed circuit board layouts, hand-wired looms, and circuitry.Features of the BAE 1073 Single Channel Mic Pre / EQHigh Frequency: +/-16dB fixed frequency shelving at 12kHzLow Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220HzMid Range: +/-18dB peaking, fixed ‘Q’ with, selectable centre frequencies of 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz & 7.2kHzHigh Pass Filter: 18dB per octave slope, switchable between 50Hz, 80Hz, 160Hz & 300HzIncludes BAE 24V PSU to operate.The power supply can run 2 units simultaneously thats why units are sold separately.

BAE 1073 Mic Pre / EQ Pair with PSUThe BAE 1073 is as authentic as you can get to the original, featuring the same St Ives (Carnhill) transformers as the vintage modules, Elma switches and Canford wire.The BAE 1073 looks identical to the original vintage module and will happily retrofit in vintage Neve 80 Series consoles because the entire product is engineered in exactly the same way as the originals: the same chassis construction, connectors, printed circuit board layouts, hand-wired looms, and circuitry.Features of the BAE 1073 Mic Pre / EQ Pair with PSUHigh Frequency: +/-16dB fixed frequency shelving at 12kHzLow Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220HzMid Range: +/-18dB peaking, fixed ‘Q’ with, selectable centre frequencies of 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz & 7.2kHzHigh Pass Filter: 18dB per octave slope, switchable between 50Hz, 80Hz, 160Hz & 300Hz

Manley’s modern take on the Pultec EQ - in stereo! - with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Magic on drums, killer on guitars.The MANLEY ENHANCED PULTEC EQP-1A is our own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. We have been building these Manley Pultec EQs since 1990 after we bothered to hunt down Eugene Shenk in New Jersey to ask for his permission and blessings to produce our own version of his classic piece. These Manley Pultec units employ our own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit. EQ may be set to 'flat' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Our single rack unit monoblocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. And if you notice, we've added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4" jack) may be selected in that switch's middle position.People often ask us if our Pultec EQ's sound like the old ones to which we reply, "Yes! But better!" The originals had three transformers in the signal path whereas ours can be used completely transformerless. Our Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. Our line amp is known to be killer-sounding. The components we use today just weren't available in the 1960's. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec!The MANLEY PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like our 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety. Kick drum? Bring on the Pultecs and all the iron you can muster! You'll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. . . Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You'll see. There's no substitute for a what a Manley Pultec EQ can do!

Manley’s modern take on the Pultec EQ with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Magic on kick drum, killer on guitars.The MANLEY ENHANCED PULTEC EQP-1A is our own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. We have been building these Manley Pultec EQs since 1990 after we bothered to hunt down Eugene Shenk in New Jersey to ask for his permission and blessings to produce our own version of his classic piece. These Manley Pultec units employ our own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit. EQ may be set to 'flat' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Our single rack unit monoblocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. And if you notice, we've added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4" jack) may be selected in that switch's middle position.People often ask us if our Pultec EQ's sound like the old ones to which we reply, "Yes! But better!" The originals had three transformers in the signal path whereas ours can be used completely transformerless. Our Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. Our line amp is known to be killer-sounding. The components we use today just weren't available in the 1960's. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec!The MANLEY PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like our 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety. Kick drum? Bring on the Pultecs and all the iron you can muster! You'll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. . . Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You'll see. There's no substitute for a what a Manley Pultec EQ can do!

Optimize Your Audio with the Stereo VitalizerThe SPL Stereo Vitalizer Mk3-T harmonic exciter is an indispensable tool for enhancing your audio. Based on research in the fields of psychoacoustics and audiometry, SPL’s unique, patented Vitalizer circuitry heightens detail and transparency, boosts perceived loudness, and beefs up bass response for powerful, radio-ready mixes that blast right out of the speakers. The key to the Stereo Vitalizer Mk3-T’s sonic magic is that it works both in the frequency and time domains through a series of minimal temporal offsets of loud frequencies. As a result, superimposed audio transients are unmasked to unveil a whole new level of clarity in your mixes. For decades, recording engineers have used subtle harmonic excitement to help elements sit perfectly in the mix. Now, with the SPL Stereo Vitalizer Mk3-T harmonic exciter, you can too.An indispensable sound-design toolSPL's Vitalizer technology is known by engineers worldwide as an effective way to polish audio with highly musical results. Use the Drive control to fine-tune the signal level for precise interaction with the filter network and bring out the best parts of an audio signal. The Stereo Vitalizer Mk3-T is unsurpassed as a sound-design tool. It adapts the frequency spectrum to the curves of equal loudness, heightening the perception of loudness. It can enhance intelligibility in vocals and augment the soundscape of a complete mix — and more. Low frequencies are subtly shifted to prevent them from masking transient details, giving your tracks and mixes more clarity than ever. The integrated Bass Comp focuses on the bass range so you don't overload downstream equipment in your signal chain. So, even if you use the Stereo Vitalizer Mk3-T to bolster your bass tracks, you still have the dynamic control you need to keep signal levels in check.The cure for iron-poor mixesPrevious versions of the Stereo Vitalizer have proved their mettle in top studios for years. Now, the third-generation Stereo Vitalizer Mk3-T ups the ante with a new design that uses a higher internal audio voltage of +/-18V, resulting in enhanced dimensionality and increased detail. Processed through the Vitalizer Mk3-T, you’ll notice your mixes bloom with vitality and richness of detail that makes them more accessible to the ear. They brim with enhanced depth and width, more deeply layered and widely spread apart. Authoritative, natural, and lively-sounding, your mixes will translate better to the world outside your studio, holding up well on real-world playback systems where lackluster mixes go to die. So do your mixes a favor. Energize them with the SPL Stereo Vitalizer Mk3-T.SPL Audio: supercharged audio productsFormed in Germany in 1983, SPL Audio has been at the forefront of the pro audio industry since its inception. After developing proprietary 120V Technology in the ’90s, SPL decided to make this groundbreaking invention the heart of all its high-end products, and this incredibly powerful yet transparent sound has earned many devotees at Sweetwater and beyond. Other revelatory inventions SPL has become known for include level-independent envelope processing and using phase cancellation in auto-dynamic de-essers for reducing sibilance. Sweetwater is proud to offer audio professionals SPL’s distinguished lineup of innovative products.

Get That Authoritative, Professional SoundNow in its third iteration, the ever-popular SPL Track One MK3 Premium channel strip has been extensively updated with upgraded specs and a more intuitive design optimized for the modern recording studio. This version of the Track One MK3 Premium is spec'd with premium Lundahl input and output transformers for that authoritative "big-iron" sound that leaps right out of the speakers. From broadcasting and voiceovers to music recording, podcasts, and live events, Track One MK3 Premium always delivers superior sonics, enhancing vocals and instruments from any source, be it mic, line, or DI. The stellar mic preamp provides plenty of gain for your mics and instruments, and SPL's acclaimed De-Esser is onboard for taming sibilant vocalists. Optimize your dynamics with the compressor/limiter, sweeten your tone with the 3-band EQ, and you've got radio-ready sound from the SPL Track One MK3 Premium channel strip.Your solution for fast, high-quality recordingsThe beauty of the SPL Track One MK3 Premium channel strip is that it's amazingly fast to dial in a great sound with virtually any source. The built-in processing is perfect for adding that extra studio polish without having to patch in external processors or bounce audio through plug-ins.Capture better vocals with the built-in De-EsserThe SPL De-Esser is considered an essential tool in countless studios, and it's built right into the SPL Track One MK3 Premium channel strip. It's known for removing harsh sibilance from vocalists in a natural, musical way, serving up transparent results even at extreme settings. One thing you'll find especially useful is the SPL De-Esser's automatic threshold-adjusting function. It basically compensates for a singer's varying distance from the mic, applying de-essing even with the signal is lower so that compressing afterward doesn't bring lower sibilants back up in level.Compressor/Limiter controls dynamics and adds characterThe Track One's compressor/limiter is an extremely easy-to-use one-knob design utilizing time constants (including attack and release) that are automated adaptively to the input signal, allowing for simple set-and-forget operation. Pressing the Limiter button switches the compressor into limiter mode, with the threshold being set by the compression knob. Like the compressor, SPL’s soft limiter is unobtrusive and delivers consistent, highly musical-sounding results. A separate makeup gain knob is provided for maintaining proper gain structure in your signal chain.Combine two for stereo operationFor maximum flexibility in your studio, get two SPL Track One MK3 Premium channel strips and link them for stereo compression. You'll be able to record beautifully wide stereo tracks and get true stereo compression with just one set of controls. Best of all, the EQs will still be independent, so you can fine-tune the stereo image simply by using slightly different EQ settings on each side.SPL Audio: supercharged audio productsFormed in Germany in 1983, SPL Audio has been at the forefront of the pro audio industry since its inception. Other revelatory inventions SPL has become known for include level-independent envelope processing and using phase cancellation in auto-dynamic de-essers for reducing sibilance.

Ένας από τους πιο δημοφιλείς compressors για mastering, που λειτουργεί εξολοκλήρου με λυχνίες. Ο Manley Vari-Mu ακούγεται σε χιλιάδες δίσκους των τελευταίων δεκαετιών και είναι πλέον αναπόσπαστο κομμάτι όλων των mastering studios.Το COMPRESS mode λειτουργεί με ratios που κυμαίνονται μεταξύ 1.5 και 1, ενώ το πιο δραστικό LIMIT mode αρχίζει από 4:1 και ανεβαίνει σε 20:1 καθώς μεγαλώνει το gain reduction. Επίσης, το knee γίνεται πιο ομαλό όσο εφαρμόζεται περισσότερο limiting.Χαρακτηριστικά:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchSilent conductive plastic dual INPUT attenuatorRECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

It’s designed to cover all the needs of every producer/engineer who wants to maximize their use of mid-side processing for enhanced stereo width; tight, focused mono-bass, and more. Its four discrete functions are divided across two linkable control sections for intuitive use, and its advanced cue section makes monitoring a breeze.Parallel insert with M/S function: With the insert section you can insert an external processor like an eq, compressor, distortion unit etc, and then dial in a mix between the processed signal (wet) and the unprocessed signal (dry). For maximum precision the blend control has 16 steps from dry to wet. If you activate the M/S function your signal will be coded into mid (L+R) and side (L-R). The mid signal normally contains all the center info such as bass, kick drum, lead vocal etc and the side signal contains all the panned parts of the signal. In M/S you can process the center signal and side signal separately with different types of processors. With the blend split function you get separate blend controls for the mid and side signal. In M/S mode the blend function takes place before the signal is decoded back to left/right. With the insert cue function you can monitor the L or R signal after the blend control separately, mid or side if M/S is active. This section can be used with it’s own balanced inputs and outputs.Elliptical Equalizer: With the elliptical EQ all frequencies below a selected frequency will be made to mono. This function can make your low end more focused. It’s an old technique used when mastering for vinyl. Too much low end in the side channel (vertical) can make the needle bounce slightly and cause distortion. By using a 12dB high pass filter in the side channel you set the frequency under which the signal will be processed as mono. As a HPF introduces phase shift to the signal, a phase correction is added to the mid channel keeping channel separation as good as possible. The EEQ has 16 frequencies from 36Hz to 302Hz. With the EEQ cue function you can monitor the signals that are mixed between the channels.Stereo width control: By adjusting the amount of side information in the stereo mix, the width can be adjusted incrementally from mono to extra wide. With this control you can fine adjust the stereo image after you have used the M/S insert.Cue function: With the cue function you can monitor the left, right, mid or side signal separately. By pressing the cue sections Insert switch you can cue the parallel inserts return signal by pressing L or R. (this can be done even if you run the two sections separately at different locations in your chain) By selecting the EEQ switch on the cue section you can monitor the low frequencies fed from left to right or right to left. The cue section is a passive design using relays to select the cue source.

Εισική έκδοση με πρόσοψη Silver. Το TK-lizer 2 είναι ένας τύπος EQ τύπου Baxandall, μπορούμε να επιλέξουμε μεταξύ shelving ή peak, οι high και οι low freq περιοχές, Πολύ χρήσιμο για τον συντονισμό των χαμηλών, μεσαίων και υψηλών περιοχών.Το TK-lizer 2 διαθέτει επίσης ενσωματωμένη λειτουργία M / S, η οποία σας επιτρέπει να επεξεργαστείτε ξεχωριστά τα mid και side σήματα σας. Μπορείτε επίσης να επηρεάσετε το πλάτος της στερεοφωνίας σας, χρησιμοποιώντας τα χειριστήρια στάθμης σε λειτουργία M / S.

Τιμώντας δυόμισι δεκαετίες παγκόσμιας υπεροχής στο τονικό shaping, το Manley Massive Passive επετειακής έκδοσης για τα 25 χρόνια προσφέρει φυσική, οργανική ηχητική διαμόρφωση μέσω ενός απλού, παθητικού σχεδιασμού, ειδικά προσαρμοσμένου για ευαίσθητες εφαρμογές. Θα εκτιμήσετε τα μηχανικά κλιμακωτά κουμπιά Gain και Bandwidth του Massive Passive, που διασφαλίζουν εύκολη επαναληψιμότητα, καθώς και τα ειδικά προσαρμοσμένα φίλτρα του. Πρόκειται για έναν από τους πιο διάφανους σε ήχο hardware equalizers που θα περάσετε ποτέ ένα mix — προσφέρει εντυπωσιακό ήχο χωρίς ίχνος χρωματισμού ή υπερεπεξεργασίας.Περιορισμένο σε 100 μονάδες, το επετειακό Manley Massive Passive συνοδεύεται από μια εντυπωσιακή πρόσοψη σε κοβαλτίου μπλε και προσαρμοσμένα laser-χαραγμένα γραφικά.

Ένας από τους πιο δημοφιλείς compressors για mastering, που λειτουργεί εξολοκλήρου με λυχνίες. Ο Manley Vari-Mu ακούγεται σε χιλιάδες δίσκους των τελευταίων δεκαετιών και είναι πλέον αναπόσπαστο κομμάτι όλων των mastering studios.Το COMPRESS mode λειτουργεί με ratios που κυμαίνονται μεταξύ 1.5 και 1, ενώ το πιο δραστικό LIMIT mode αρχίζει από 4:1 και ανεβαίνει σε 20:1 καθώς μεγαλώνει το gain reduction. Επίσης, το knee γίνεται πιο ομαλό όσο εφαρμόζεται περισσότερο limiting.Χαρακτηριστικά:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchSilent conductive plastic dual INPUT attenuatorRECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

Next Generation Harmonizer με 16 dsp κανάλια και δυνατότητα δικτύωσης. Διαθέτει επεξεργαστική ισχύς 8 φορές περισσότερη από τον προκάτοχο του H8000.Διαθέτει 4 επεξεργαστές quad core που αντιστοιχούν σε 16 dsp κανάλιαΣτον τομέα των εισόδων/εξόδων διαθέτει:8 αναλογικές I/OΨηφιακές AES/EBU και ADAT16 USB κανάλια ήχου καιΠροαιρετικά μπορεί να συνδεθεί σε standard δίκτυα ήχου συμπεριλαμβανομένων των MADI, DANTE και Ravenna.Διαθέτει την δυνατότητα του FX Chain που επιτρέπει στον χειριστή να συνδέσει οποιοδήποτε set από τα τέσσερα (4) effects με οποιοδήποτε routing παρέχοντας την ευελιξία να λειτουργήσει σαν κανάλι φωνής, πετάλι κιθάρας ή modular synth με effects. Παρέχει δυνατότητα για απομακρυσμένο έλεγχο.

Mastering Equalizer This is a unique equalizer – for several reasons. It has two times five fully parametric filter bands, each of which can be switched between constant Q and proportional Q! And there’s sheer unlimited headroom and a very special kind of EQ sound – thanks to 120V technology. Stepped Potentiometers Recall of all settings is easy thanks to the potentiometers with 41 steps. Cut/Boost & 1/4 Gain Each filter band can be boosted or cut up to 20 dB. If only minimal changes are required, the 1/4 Gain switch can be used to reduce the boost or cut range from +/-20 dB to +/-5 dB. Frequencies We have designed the frequency distribution to overlap widely between the bands, so that problematic frequencies can also be addressed with two bands. Bandwidth Q The bandwidth Q determines the steepness of bell characteristic. A small Q is a wide bandwidth and a high Q a narrow bandwidth. The labeling of the scale is divided into two parts. The values with white background refer to the proportional Q mode and the values without background refer to the constant Q mode. On/Off The orange button is used to switch the individual filter band on and off.  Constant & Proportional Q The blue button is used to toggle the Q mode. In constant Q mode, the amplitude is constant regardless of the selected bandwidth. This is ideal for eliminating interfering frequencies. In proportional Q mode, the amplitude is proportional to the bandwidth. It decreases with increasing bandwidth and vice versa. At the smallest bandwidth setting, the maximum amplitude value is +/- 20 dB, while the maximum amplitude decreases to +/- 2.8 dB at the largest bandwidth setting. This control behavior simplifies sensitive, creative processing and is musically very useful, since high amplitudes become increasingly unusable with increasing bandwidth. Auto Bypass For an objective evaluation of the edited music program, it makes sense not to switch between the original signal and the edited signal yourself, but to leave this to an automatic system. It is also an advantage that, for an optimal evaluation of the processing, one does not have to move from the stereo center and can concentrate fully on the program. With the help of the Interval control the switching time window can be determined. Turning it clockwise extends the time interval. Link The PQ is designed as a completely separate dual-mono, two-channel equalizer and can individually process two mono music programs simultaneously. It is of course also possible to edit a stereo program (left/right). If the Link function is activated, the functions LF, LMF, MF, MHF, HF On/Off and Con. Q/Prop.Q on both sides are switched together by the buttons on one side. This makes it possible to activate or deactivate a filter band or the Q characteristic on both sides of the equalizer with a single button operation. In Link mode, the right side controls the left side as factory preset. However, this can be adapted to individual working habits. If the channel switch of a channel is pressed until it flashes, this channel controls the other side from that moment on. Channel On/Off The orange button switches the entire channel on and off. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (+30 dBu, 1 kHz): 0.0005 % Noise (A-weighted): -94.3 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 3.15 mA Fuse for 115 V: T 6.3 A Power consumption: max. 100 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 177 x 300 mm Unit weight: 15.2 kg Shipping weight (incl. packaging): 18.7 kg

Xαρακτηριστικά  :   Classic Diode Bridge Tone Αποκτήστε τον punchy ήχο ,που χρησιμοποιείται σε αμέτρητες επιτυχίες τα τελευταία 50 χρόνια.   Advanced timing controls Προσαρμόστε το compression envelope σας με τον ενοποιημένο έλεγχο χρονισμού, το οποίο επιτρέπει μεγαλύτερο εύρος απαντήσεων , από ότι σε  vintage μονάδες ή κλώνους.   Custom Transformers και Class-A Line Eνισχυτές Η vintage ζεστασιά συναντά το βελτιωμένο headroom και τις ρυθμίσεις ακριβείας του ανανεωμένου Rupert Neve Line stage μετασχηματιστή .   'Eλεγχος 31- Θέσεων Aκριβής ανάκληση και αντιστοίχηση  ρυθμίσεών  , ταχύτατα και εύστοχα    Eνσωματωμένο parallel compression Eσωτερικό blend control που επιτρέπει , πιο δραματικές ρυθμίσεις του compressor , για την επίτευξη του επιθυμητού  χρώματος   Full-Wave Sidechain Detection Bελτιωμένο από αυτό της vintage συσκευής , half-wave σχέδιο , ο ανανεωμένος sidechain detector προσφέρει εμφανέστατα περισσότερη ακρίβεια .     Stereo Linking Λειτουργήστε τους compressors σας σε mono ή stereo configurations    Eσωτερικό Universal Power Supply Διαθέτει EIC σύνδεση για world-wide AC power από 90-240V ενσωματωμένο στο 1U rack-mountable σασί . Tεχνικά χαρακτηριστικά Aντίσταση εισόδου : 10 kΩ Aντίσταση εξόδου : 40 Ω Maximum Input Level (+4dBu Selected): +26.7 dBu typical Maximum Output Level: +26.7 dBu typical Noise (22 Hz - 22 kHz BW): -104 dBu typical Aπόκριση συχνότητας :  (10 Hz to 120 kHz): +/- 0.25 dB typical THD+N @1 kHz @ Maximum Level (22 Hz - 22 kHz BW): 0.0008% typical Xαρακτηριστικά θορύβου του Compressor Noise @ 0dB Make-Up Gain (22 Hz - 22 kHz BW): -84.5 dBu typical Noise @ +20dB Make-Up Gain (22 Hz - 22 kHz BW): -64.5 dBu typical Xαρακτηριστικά χρονισμού του Compressor   Σημείωση : Oι μετρήσεις χρόνου αναπαριστούν  το πλήρες εύρος που επιτυγχάνεται  μεταξύ 1.5:1 and 8:1 Ratio και  FAST Mode FAST Attack 250μS - 2 mS // Release 100mS - 200mS typical MF (MEDIUM FAST) Attack 1mS - 5mS // Release 100mS - 200mS typical MED (MEDIUM) Attack 3mS - 18mS // Release 350mS - 700mS typical MS (MEDIUM SLOW) Attack 5mS - 40mS // Release 600mS - 1S typical SLOW Attack 10mS - 80 mS // Release 800mS - 1.5S typical AUTO Attack 5mS - 40mS // Release T1 400-900mS, T2 1-2S typical Διαστάσεις :  (Πx B x Y) 48.3 x x 20.9 x 4.2 cm

 Xαρακτηριστικά:   Stereo link ή 2xmono 75V Variable gain  -6 dB έως +20 dB Εξαιρετικά ευέλικτος διπλός μονοφωνικός ή στερεοφωνικός compressor Ρυθμιζόμενη parallel compression Έλεγχος υφής για τη λειτουργία Silk-  και Silk + Music limiter Stereo field editor Eυέλικτo routing που επιτρέπει την ανεξάρτητη δυναμική επεξεργασία του mid-end side καναλιού Extensive level display Υποδοχές εισόδου / εξόδου: XLR Side chain send / return connector: Υποδοχή 6,3 mm Διακόπτης Ground lift 19 "(2U) Βάρος: 9,7 κιλά

Ένας ιδανικός τρόπος για να αφαιρέσετε τον ανεπιθύμητο θόρυβο από τον ήχο σας Παρέχει 2 κανάλια καθαρού σήματος για περισσότερο gain χωρίς to "φόβο" του feedback Έχει παρόμοια λειτουργία με το Noise Gate αλλά λειτουργεί με μια πιο μεγαλύτερη ακρίβεια Αυτόματη ανίχνευση σήματος για άμεση απόκριση  Τα απλά και εύχρηστα χειριστήρια συμβάλουν σε άμεσα αποτελέσματα

Βασισμένο στα θρυλικά EQ της δεκαετίας του '60 και του '70, ο παθητικός ισσοσταθμιστής Wes Audio LC-EQP θα δώσει ζωή στην μουσική σας. O συνδιασμός του αναλογικού signal path με τους μετασχηματιστές Carnhill διατηρεί την ηχητική ακαιρεότητα του κομματιού σας κατά την ισσοστάθμιση.Χαρακτηριστικά: Τύπος: Υβριδικό Carnhill μετασχηματιστές Αντίσταση εισόδου: > 1.5 kOhm Αντίσταση εξόδου:  150 ohms Μέγιστη ένταση εξόδου: +22dBu Aπόκριση Συχνοτήτων: 5 Hz - 65 kHz (-3 dB) SNR ratio: 90 dB Λειτουργία Bypass Περιοχές: 2 (Dedicated Boost/Cut) Balanced XLR είσοδος και έξοδος Εσωτερική τροφοδοσία 115/230V Format: 19 "2U Διαστάσεις: 483 x 88 x 237 mm Βάρος: 7 kg

Νέα έκδοση S γραφικού equalizer 1/3 της οκτάβας, 2x31 περιοχών constant Q. Επιλεγόμενο εύρος αυξομείωσης 6/12dB, φίλτρο αποκοπής χαμηλών συχνοτήτων στα 40Hz με 12dB ανά οκτάβα. Iσορροπημένες (balanced) είσοδοι και έξοδοι με XLR & TRS jacks, δυναμική περιοχή 108dB, 2U.

Νέα έκδοση S γραφικού equalizer 2/3 της οκτάβας, 2x15 περιοχών constant Q. Επιλεγόμενο εύρος αυξομείωσης 6/12dB, φίλτρο αποκοπής χαμηλών συχνοτήτων στα 50Hz με 12dB ανά οκτάβα. Ισορροπημένες (balanced) είσοδοι και έξοδοι με XLR & TRS jacks, δυναμική περιοχή 108dB, 1U.

If there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor. From the very first commercially released SSL 4000B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has always been the stalwart of the console centre section. For many of the world’s top engineers and producers, the Bus Compressor continues to be the most relied upon processing tool for making mixes sound bigger and more complete, with drive and energy from adding that legendary SSL glue and punch.

The COMP-554 MKII is the 500 series rack version of the COMP-54 MKIII with some additional features. The COMP-554 MKII is a one-channel vintage style compressor for the 500-format. The signal path uses only discrete components like resistors, capacitors and transistors. The input and output are transformer balanced and the unit also uses a third interstage transformer. This is the way audio components were built before integrated circuits became available. IC´s are small and cheap and they are widely used in most modern designs. It is clear though that audio components built with modern technology doesn´t always provide the best perceived sound quality or character that the modern user desires.On the contrary, the subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market. The class-A circuit used in the COMP-554 MKII is similar to the one in the classic 2254 compressor that was designed in 1969. It quickly became a legend due to it´s totally unique sound character that is warm, smooth, sweet and musical.These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on many sound sources and in many genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.

Το COMP-3A Jr είναι ένας μονοκάναλος βίντατζ-τύπου compressor / leveler. Η διαδρομή του σήματος χρησιμοποιεί μόνο discrete εξαρτήματα όπως αντιστάσεις, πυκνωτές και τρανζίστορς. Η είσοδος και έξοδος είναι κατηγορίας balanced, χρησιμοποιώντας δύο διαφορετικούς μετασχηματιστές, ο καθένας από αυτούς βελτιστοποιημένος για την χρήση του. Αυτός είναι ο τρόπος που κατασκεύαζαν τα ηχητικά μηχανήματα πριν βγουν τα ολοκληρωμένα κυκλώματα.Τα ολοκληρωμένα κυκλώματα είναι μικρά και φτηνά, και χρησιμοποιούνται στα περισσότερα σύγχρονα μηχανήματα. Είναι όμως ξεκάθαρο ότι ταηχητικά εξαρτήματα που έχουν φτιαχτεί με μοντέρνα τεχνολογία δεν προσφέρουν πάντα την καλύτερη ποιότητα ήχου, η τον χαρακτήρα που ο σύγχρονος ακροατής αναζητά.Από την άλλη, η υποκειμενική ποιότητα ήχου που αποδίδει ο παλαιότερος εξοπλισμός συνήθως προτιμάται από αυτόν που προσφέρουν τα πιο σύγχρονα μηχανήματα, κάτι το οποίο είναι ακόμα πιο ξεκάθαρο τώρα που η μουσική ηχογραφείται με καθαρό ψηφιακό ηχητικό εξοπλισμό.Αυτός είναι ο λόγος που τόσα πολλά βίντατζ μηχανήματα μιμούνται και παράγονται ξανά και αυτός είναι ο λόγος που παλιά πρωτότυπα μηχανήματα πηγαίνουν τόσα ακριβά στην αγορά ως μεταχειρισμένα.Το κύκλωμα που χρησιμοποιήθηκε στο COMP-3A Jr είναι εμπνευσμένο από κλασικά στοιχεία σχεδιασμού και έχει ολοκληρωμένο optocoupler για να ελέγχετε το gain. Αυτό δίνει στο COMP-3a Jr μοναδικά χαρακτηριστικά συμπίεσης. Επιπλέον, η βίντατζ διαδρομή σήματος δίνει ένα ευχάριστο και μουσικό χαρακτήρα στον ήχο. Η ευκολία της χρήσης με μόνο δύο κύρια ρυθμιστικά το κάνει πολύ απλό να πετύχετε τον επιθυμητό σας αποτέλεσμα. Αυτά τα χαρακτηριστικά έχουν κάνει τα βίντατζ μηχανήματα με παρόμοιο σχεδιασμό αγαπημένα των ηχοληπτών και μουσικών παγκοσμίως.Ο κλασικός ήχος και βίντατζ τύπου compressor είναι πλέον διαθέσιμος σε πολύ προσιτή τιμή με το COMP-3A Jr.

The SR22 Dual Channel Compressor features two channels of API's patented award-winning compressor circuit in a rackmount unit with internal power supply. This same compressor circuit was originally designed into the legendary ATI Paragon analog live mixing console. Each channel includes the patented THRUST® circuit, which protects the sensitive high frequency content of the audio signal, even under the most vigorous of compression ratios. The perfect companion to the new SR24 Dual Channel EQ, the SR22 provides comprehensive, easy-to-use control along with classic analog VU meters for monitoring output and gain reduction. The two channels can also be linked for use as a stereo compressor with true RMS power summing of the left and right signals.

The SR24 is a two channel, four band equalizer in a two rack-space chassis. With a dedicated knob and/or switch for each control function, the SR24 is easy to use; by utilizing continuously-variable controls for both the frequency and boost/cut, the SR24 can be very precise in applying equalization to the selected audio material. The SR24 circuit design is deeply rooted in API's history. From the late 1970's to the early 1980's, an audio company called "APSI" manufactured consoles and equalizers. Their 562 module was a 4-band, fully parametric equalizer which was designed by APSI and sold through API. Over the last several decades, these EQ modules remained a favorite among many studio engineers, but have become increasingly difficult to find. The SR24 is a faithfully re-engineered version of the original 562, offering the user 2 channels of classic analog EQ in one rackmount unit.

The API Select T25 is a classic 2-channel, FET feedback-style compressor/limiter with a Class-A tube output stage that utilizes a custom API transformer. Built with 12AT7WC and 12BH7 dual-triode vacuum tube, the T25 represents a new direction in API's line of compressors. It offers the user a powerful and flexible feature set, including the ability for use in either dual mono or stereo mode, and is carefully engineered to deliver classic tube performance. The T25 excels at delivering the unmistakable sound of API and features our industry-exclusive Five Year Warranty.

70 Χρόνια Μετά τη Δημιουργία  του, Το Baxandall Eq Αναβαθμίζεται Η τοπολογία του Baxandall equalizer, που παρουσιάστηκε στο κοινό από τον Peter Baxandall το 1952, ήταν ένας πολύ έξυπνος τρόπος να έχουμε high και low shelves με επιλογή πρόσθεσης και αφαίρεσης χωρίς τη χρήση ακριβών περιστροφικών διακοπτών. Αυτό το προσιτό κύκλωμα υιοθετήθηκε σύντομα από κατασκευαστές hi-fi και κονσόλων για την απλότητά του, όπου δεν απαιτούνται παραμετρικές επιλογές eq. H Heritage Audio αντικατέστησε επιτυχώς την τοπολογία Baxandall με ένα λειτουργικό ισοδύναμο - πολύ πιο μουσικό, το οποίο υλοποιήθηκε σαν μια μονάδα 1U rack για master bus και mastering. Το Stereo Asymptotic Equalizer, γνωστό ως Symph EQ, παίρνει το όνομά του από το σχήμα που λαμβάνεται από τις καμπύλες των shelf eq, όπου το εύρος ενίσχυσης ή αποκοπής μεγαλώνει έως ότου επιτευχθεί η ασυμπτωτική τιμή, διατηρώντας πάντα τις εξαιρετικά υψηλές και χαμηλές συχνότητες υπό έλεγχο. Ο ήχος του μπορεί να περιγραφεί μόνο ως σφιχτός, γλυκός και φυσικός, και η χρήση της παράλληλου equalizing για τη λήψη των επιθυμητών καμπυλών απόκρισης το κάνει να έχει εξαιρετική απόκλιση χαμηλής φάσης. Shelving Με Χειρουργική , αλλά Μουσική Ακρίβεια. Μια διάταξη έξυπνου κυκλώματος επιτρέπει ρύθμιση + ή - 10,5 dB σε βήματα 0,5 dB. Ο κύριος περιστροφικός διακόπτης θέτει βήματα 1dB ενώ το κουμπί 0,5 προσθέτει μισό dB στην κύρια ένδειξη. Το κουμπί CUT μετατρέπει το ποσό ενίσχυσης σε περικοπή. Διατίθενται έξι στρατηγικά επιλεγμένες, επιλογές συχνότητων ανά μπάντα (8, 10, 12, 15, 20 και 24 Khz στο high shelf και 470, 360, 220, 110, 60 και 20 Hz στο low shelf). 2-PoleHigh Και Low Pass Φίλτρα Προκειμένου να διατηρηθούν οι πολύ χαμηλές και οι εξαιρετικά υψηλές συχνότητες υπό έλεγχο, έχουν προστεθεί επιπλέον φίλτρα υψηλής και χαμηλής διέλευσης σε διπλούς ομόκεντρους περιστροφικούς διακόπτες, στα 12dB / οκτάβα. 5 επιλογές συχνότητας και OFF είναι διαθέσιμες σε κάθε μία (10, 12, 18, 22 και 30 Khz στο low-pass και 160, 82, 47, 20 και 15 Hz στο high-pass). Εδώ Είναι Που η Μαγεία Ζεί. Το Symph EQ θα είναι ένα φοβερό εργαλείο όπως έχει περιγραφεί παραπάνω, αλλά μετατρέπεται σε αριστούργημα με τις ακόλουθες 3 προσθήκες: Διαθέτει τους ίδιους αποκλειστικούς μετασχηματιστές εισόδου Carnhill made in Oxford που υπάρχουν στο Successor. Οι έξοδοι οδηγούνται από ενισχυτές εξόδου Class-A 73 τύπου, κατασκευασμένοι με τους ίδιους μετασχηματιστές εξόδου Carnhill St´Ives όπως η υπόλοιπη οικογένεια προϊόντων μας. Το πιο σημαντικό και, εδώ είναι που το Symph EQ λάμπει πραγματικά, έχει ενσωματωμένες δυνατότητες Mid Side (M / S). Το Ασυναγώνιστο M/S Equalizing. Τίποτα δεν πλησιάζει στο M / S equalizing σε ένα μιξ. Επιτρέπει στον χρήστη να επεξεργάζεται ανεξάρτητα το κέντρο και τις πλευρές. Τα οφέλη μιας τέτοιας επεξεργασίας είναι δύσκολο να τα πιστέψουμε. Μπορείτε να βελτιώσετε τη μίξη σας χωρίς να κάνετε τα φωνητικά σας να ακούγονται σκληρά ή ακόμα και να “σφίξετε” το περιεχόμενο των μπάσων της στερεοφωνικής εικόνας χωρίς να κάνετε τον ήχο μπάσου ή της μπότας αδύναμο! Αυτά είναι μερικά μόνο παραδείγματα της ισχύος του Symph EQ M / S! Η απόκριση του Side high pass φίλτρου έχει γίνει ελλειπτική όπως είναι στους κόπτες δίσκου βινυλίου για ακριβή απόκριση συχνότητας. Με Το Symph Eq Προσαρμοσμένους μετασχηματιστές εισόδου Carnhill Oxford και προσαρμοσμένους μετασχηματιστές εξόδου Carnhill St Ives, και οι δύο αποκλειστικά κατασκευασμένοι για την Heritage Audio. Σταδιο εξόδου high-end, 73-style Class-A. Όλα τα χειριστήρια χρησιμοποιούν περιστροφικούς διακόπτες υψηλής ποιότητας ακριβείας 0,5dB. Η επεξεργασία Mid-side επιτρέπει την ακριβή διαχείριση των κεντρικών μπάσων και τις δυναμικές πηγές υψηλής ενίσχυσης χωρίς να επηρεάζει τις κεντρικές πηγές, όπως φωνητικά, snare κ.λπ. Stereo και M/S εισόδους και εξόδους, όλες balanced και ground free (συμβατές με unbalanced) επιχρυσωμένα XLRs. ON, M/S ή stereo λειτουργία και ξεχωριστό hard BYPASS για κάθε κανάλι. Κατασκευάζεται εξ ολοκλήρου στην Ευρωπαϊκή Ένωση

Η μαγεία πίσω απο το καταπληκτικο αυτό νεό EQ είναι η βασική ιδέα  της χρήσης Baxandall  φίλτρων και η υλοποίηση  του που διήρκεσε πολλά χρόνια. Τα κλασσικά shelving  φίλτρα  Baxandall  ήταν διάσημα ήδη απο την δεκαετία του  60 για την απίστευτη μουσικότητα τους και τον ιδιαίτερο μουσικό ήχο τους. Ο Chris Muth δούλεψε πολλά χρόνια για την δημιουργία ενός σύγχρονου Baxandall  EQ.Το Dangerous Music BAX EQ είναι το νέο  standard  για υψηλού επιπέδου equalization για ηχολήπτες mastering αλλά και ηχολήπτες studio. Προσφέρει απίστευτα μαλακά και μεταξένια υψηλά που πραγματικά δίνουν ζωή στίς μίξεις. Επίσης  οι χαμηλές  συχνότητες αποκτούν  σώμα και γίνονται πιο συμπαγείς. Όλα αυτά  δε χωρίς περίεργους χρωματισμούς.To νέο στερεοφωνικό EQ προσφέρει  ακριβή έλεγχο με ποτενσιόμετρα διακριτά σε στάδια  γεγονός που βελτιώνει ακόμα περισσότερο τον ήχο και δείχνει την σημασία στην λεπτομέρεια της κατασκευής του. Αν θέλεται έναν ακριβό ήχο με  σύγχρονη σχεδίαση αλλά και  vintage χαρακτήρα  ως πρός την γλυκύτητα του ήχου , αυτό είναι το EQ που πάντοτε περιμένατε !Dangerous Music BAX EQ Stereo Mastering and Mix Bus Shelving Equalizer Features:Inspired by the Classic P. J. Baxandall Shelving CurvesStepped controls throughout for repeatability and identical stereo operationBroad Q Shelving7-position High Pass and Low Pass Filters — 2-pole Butterworth configuration (12 dB/oct)8-position High and Low Frequency Select+/- 5dB Cut and Boost controls in 1/2dB steps

Ένας χειροποίητος signal router / switcher από την Dangerous Music που επιτρέπει σύνδεση συσκευών σε έξι insert loops και parallel loops με ευκολία χρήσης και απόλυτη ηχητική πιστότητα.Συνδέστε όλα τα μηχανήματά σας στο Liaison για να έχετε τον απόλυτο έλεγχο, ρυθμίζοντας patches, κάνοντας συγκρίσεις διαφορετικών routing κτλ. Το Liaison μπορεί να σώζει τις συνδεσμολογίες σαν presets για μελλοντική ανάκληση και χρήση, ενώ τα ρελέ true-bypass που περιλαμβάνει, επιτρέπουν την εύκολη αφαίρεση οποιουδήποτε επεξεργαστή από την αλυσίδα, ακόμα και αν ο ίδιος δεν έχει διακόπτη bypass.Τα εξαρτήματα του Liaison είναι mastering-grade και οι διακόπτες είναι γρήγοροι, σιωπηλοί και ουδέτεροι, για πραγματικές A-B συγκρίσεις χωρίς καθυστερήσεις και ανεπιθύμητους "χρωματισμούς".Χαρακτηριστικά: 6 stereo insert loops, assignable to 2 stereo bussesευέλικτο parallel processing loopστιγμιαίο routing / switching / flip / audition / matrixδυνατότητα recallσυνδυάζεται ιδανικά με το dangerous master  Frequency Response (Passive Section)  +0, -0.1dB from 10Hz to 100kHzFrequency Response (Active Section) +0, -0.1dB 10Hz-100kHzMaximum level > +28dBuNoise floor < -94.5dBu 22Hz-22kHz bandwidthTHD+N < 0.002%IMD < 0.003%Crosstalk rejection (Passive Section) > 124dBCrosstalk rejection (Active Section) > 113dBInput Impedance: 20K OhmsOutput Impedance: 20 Ohms

Mastering Equalizer This is a unique equalizer – for several reasons. It has two times five fully parametric filter bands, each of which can be switched between constant Q and proportional Q! And there’s sheer unlimited headroom and a very special kind of EQ sound – thanks to 120V technology. Stepped Potentiometers Recall of all settings is easy thanks to the potentiometers with 41 steps. Cut/Boost & 1/4 Gain Each filter band can be boosted or cut up to 20 dB. If only minimal changes are required, the 1/4 Gain switch can be used to reduce the boost or cut range from +/-20 dB to +/-5 dB. Frequencies We have designed the frequency distribution to overlap widely between the bands, so that problematic frequencies can also be addressed with two bands. Bandwidth Q The bandwidth Q determines the steepness of bell characteristic. A small Q is a wide bandwidth and a high Q a narrow bandwidth. The labeling of the scale is divided into two parts. The values with white background refer to the proportional Q mode and the values without background refer to the constant Q mode. On/Off The orange button is used to switch the individual filter band on and off.  Constant & Proportional Q The blue button is used to toggle the Q mode. In constant Q mode, the amplitude is constant regardless of the selected bandwidth. This is ideal for eliminating interfering frequencies. In proportional Q mode, the amplitude is proportional to the bandwidth. It decreases with increasing bandwidth and vice versa. At the smallest bandwidth setting, the maximum amplitude value is +/- 20 dB, while the maximum amplitude decreases to +/- 2.8 dB at the largest bandwidth setting. This control behavior simplifies sensitive, creative processing and is musically very useful, since high amplitudes become increasingly unusable with increasing bandwidth. Auto Bypass For an objective evaluation of the edited music program, it makes sense not to switch between the original signal and the edited signal yourself, but to leave this to an automatic system. It is also an advantage that, for an optimal evaluation of the processing, one does not have to move from the stereo center and can concentrate fully on the program. With the help of the Interval control the switching time window can be determined. Turning it clockwise extends the time interval. Link The PQ is designed as a completely separate dual-mono, two-channel equalizer and can individually process two mono music programs simultaneously. It is of course also possible to edit a stereo program (left/right). If the Link function is activated, the functions LF, LMF, MF, MHF, HF On/Off and Con. Q/Prop.Q on both sides are switched together by the buttons on one side. This makes it possible to activate or deactivate a filter band or the Q characteristic on both sides of the equalizer with a single button operation. In Link mode, the right side controls the left side as factory preset. However, this can be adapted to individual working habits. If the channel switch of a channel is pressed until it flashes, this channel controls the other side from that moment on. Channel On/Off The orange button switches the entire channel on and off. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (+30 dBu, 1 kHz): 0.0005 % Noise (A-weighted): -94.3 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 3.15 mA Fuse for 115 V: T 6.3 A Power consumption: max. 100 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 177 x 300 mm Unit weight: 15.2 kg Shipping weight (incl. packaging): 18.7 kg

Passive Mastering Equalizer In the PASSEQ we have revived the concept of the passive equalizer that was used in the 50’s and 60’s. The charming sound of this vintage technology combined with the modern 120V technology results in a very special equalizer. Only one filter​ All control functions are part of only one passive filter. There are three frequency ranges: Low Freq / Mid Freq / High Freq Each with a cut control on the left and a boost control on the right. In the middle is the output control. Design A passive filter has no amplification stages. It can therefore only be lowered. If one frequency is to be boosted, all the others must be lowered. Behind the filter there is a stage that makes up for the lowered overall level. Since low noise is particularly important here, since up to 20 dB can be made up for, the 120V technology comes into its own. The entire passive filter (variable resistor, capacitor and coil) provides a very nice sound characteristic. Besides the choice of components, the charging behaviour of the capacitors and the saturation behaviour of the coils play a major role in this. The resulting relative inertia compared to potentially very fast active filters is the reason for a pleasant, musically advantageous sound characteristic. We would choose smoothness and transparency as well as strikingly silky highs and pithy basses as a description that suits our perception. During fine-tuning, through component selection, in countless listening sessions, the emphasis was on achieving the most musical sounding curves possible, which, for example, need fear no comparison with a Pultec EQ from the 1950/60s. Only without all the disadvantages of a 60 year old original, such as the very high background noise, but above all the very limited frequency selection. Another highlight of the PASSEQ is the HF+ band, which has been extended by the frequencies 25 kHz and 35 kHz and sounds so incredibly good that you don’t want to switch it off. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -60 dBu Frequency range (-3 dB): 10 Hz – 200 kHz Crosstalk (1 kHz): -108 dBu THD + N (+30 dBu, 1 kHz): 0.0012 % Noise (A-bewertet): -95.2 dBu Dynamic range: 134.5 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 15 VA Dimensions & Weight W x H x T (W x H x D (width x height x depth) x Höhe x Tiefe): 482 x 132 x 300 mm Unit weight: 10.2 kg Shipping weight (incl. packaging): 14 kg

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg