Επεξεργαστές Ήχου

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.

Commemorating two and a half decades of world-class tone shaping, the Manley 25th-anniversary Massive Passive delivers natural, organic sonic sculpting via a simple, passive design that's tailor-made for delicate applications. You'll appreciate this Massive Passive's mechanically detented Gain and Bandwidth knobs, ensuring easy repeatability, and its specially tailored filters. This is one of the most transparent-sounding hardware equalizers you'll ever run a mix through; it delivers amazing sound with zero coloration or overprocessing. Limited to 100 units, the Manley 25th-anniversary Massive Passive comes adorned with an eye-grabbing cobalt blue faceplate and custom laser-engraved artwork.

The COMP-3A is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors and transistors. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.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 circuit used in the COMP-3A is based on a classic design that uses an electro-luminescent panel and a photoelectric cell to control gain. This gives the COMP-3A a unique, program dependent compression characteristics. In addition, the vintage style signal path adds a wonderful and musical character to the sound. The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made the original units a favourite of engineers and musicians worldwide.This classic sound is now available at a very affordable price point with the COMP-3A.FEATURESVintage style electronics. No integrated circuits in the signal path.Transformer balanced input and output. Can drive almost any load - balanced or unbalanced.Selectable output transformer loading resistors by an internal jumper, will affect the high end frequency response.Uses a classic T4-style electro-optical attenuator to control gain with program dependent attack and release times.Very simple to operate with only two main controls, Gain and Peak Reduction.HF control can make the side-chain circuit more sensitive to mid and high frequency content.A big meter selectable to show gain reduction or output level at two different reference levels.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack and switch for connecting to another unit for stereo operation.All external controls located on the front panel.External power supply to avoid interaction with the audio circuits and transformers.Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.A solid build quality that will last many years of normal use

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

The Chandler Limited EMI TG12413 Zener Limiter is the definitive TG limiter, released in honor of Abbey Road Studios' 75th birthday. The brainchild of Chandler Limited designer Wade Goeke, the Zener Limiter is based on the classic EMI circuits used to record The Beatles and Pink Floyd. This latest EMI limiter carries on the tradition of EMI limiters started in 1956 with the RS114 tube limiter, and continued with 1966's RS168 Zener Limiter (a component of the TG12345 console channel in 1968), and the TG12413 in '74. Start with the essence of the classic RS168, add modern functionality, and you have the Chandler Limited EMI TG12413 Zener Limiter.Chandler Limited EMI TG12413 Zener Limiter at a Glance:Classic compression and limiting, with modern flexibilityExercise iron-fisted control over your dynamicsYou get natural compression, scrumptious-sounding limiting - and a blend of the twoClassic compression and limiting, with modern flexibilityThe original TG Limiter was designed to replace both the Fairchild 660 and the EMI-modified Altec 436/RS124 - two certified classics, revered for their dynamics-shaping prowess. The Altec unit was known for its natural, organic compression, while the Fairchild - with its fast, sub-millisecond onset and extremely soft-knee compression curve - is perhaps the most lusted-after (and imitated) limiter ever made. The Chandler Limited EMI TG12413 Zener Limiter gives you the sonic mojo of these two classics - and goes several steps beyond.Exercise iron-fisted control over your dynamicsThe Chandler Limited EMI TG12413 Zener Limiter gives you the power to impose your will on your dynamics. Starting with the powerful vintage TG limiter circuits, Chandler Limited gives you added features and flexibility in the form of controls such as switchable input impedance (for hard or soft driving of the unit), 11-position attack, 21-position release, and side chain filtering, as well as Comp 1, Comp 2, and Limit settings.You get natural compression, scrumptious-sounding limiting - and a blend of the twoCOMP 1 is a 2:1 ratio with slower time constants than originally designed by EMI engineers to emulate the Altec 436/RS124 EMI-modified Altec compressors. Limit mode is much faster and designed to emulate the response curves of the revered classic Fairchild 660. COMP 2 is a new setting that puts you halfway between the two original settings, essentially giving you the compression curve of Comp 1, with the faster release times characteristic of Limit mode. Whether you use it for tracking or mastering, with its sonic pedigree and effective controls, the Chandler Limited EMI TG12413 Zener Limiter is a must-have for huge, punchy mixes.Chandler Limited EMI TG12413 Zener Limiter Features:Gives you the sonic mojo of two classics: the Fairchild 660 and the Altec 436/RS124COMP 1 mode is a 2:1 ratio with slower time constants reminiscent of the Altec 436/RS124Limit mode is faster and designed to emulate the response curves of the revered classic Fairchild 660COMP 2 is a new setting that puts you halfway between the two original settingsChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The Chandler Limited EMI TG12345 Curve Bender EQ is the definitive TG equalizer, released in celebration of Abbey Road Studios' 75th birthday. The brainchild of Chandler Limited designer Wade Goeke and Abbey Road senior engineer Peter Cobbin, the Curve Bender is based on the vintage EMI TG12345 console used on Beatles and Pink Floyd recordings. This latest EMI equalizer carries on the tradition of EMI EQs that began in 1951 with the RS56 (cheekily dubbed "the Curve Bender" by EMI designers), and continued with the 1968's TG12345 and TG12412 in '74. A classic design - the gorgeous-sounding TG12345 - juiced with it with modern features. That's the Chandler Limited EMI TG12345 Curve Bender.Chandler Limited EMI TG12345 Curve Bender EQ at a Glance:A fully featured version of a classic EQPowerful functionality gives your serious sound shaping mojoYou get the best of both worlds: vintage warmth, plus modern featuresA fully featured version of a classic EQThe Chandler Limited EMI TG12345 Curve Bender EQ is the embodiment of a dream. It was during his mixing of numerous Beatles-related projects (Anthology, Yellow Submarine, Imagine, etc.), it occurred to Peter Cobbin that having a fully featured and highly flexible version of the original desk EQ units would be invaluable. After Wade Goeke presented him with a working version of the legendary console equalizer, Peter realized he could "have it all," and set Wade to building the perfect beast.Powerful functionality gives your serious sound shaping mojoPeter had requested four bands, and filters based on the slopes of the original console - but with overlapping and expanded options. In the final production unit, the 9 selections of the original TG12345 had become 51 EQ points. Wade also added a multiply switch that increases boost/cut up to 13.5dB (as well as sharpening the Q), in addition to filters and bell/shelf selections on the high and low bands.You get the best of both worlds: vintage warmth, plus modern featuresThe result is the Chandler Limited EMI TG12345 Curve Bender - a classic equalizer from the glorious history of EMI and Abbey Road that's come full circle, morphing into a modern powerhouse EQ perfect for all your recording, mixing, and mastering needs.Chandler Limited EMI TG12345 Curve Bender EQ Features:A fully featured version of a classic EQThe best of both worlds: vintage warmth, plus modern features51 EQ pointsMultiply switch increases boost/cut up to 13.5dBHigh pass and lowpass filters and bell/shelf selections on high and low bandsChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The Chandler Limited RS124 packs three legendary Abbey Road RS124 compressors into one chassis. Over the decades since the Abbey Road RS124 graced Beatles' recordings, there were attempts to re-create the hardware from sketchy information; none of these efforts fully realized the elusive musical soul of the original EMI unit. Schematics relayed only so much of the design. So Chandler turned to historic units provided by Abbey Road, as well as handwritten modification memos that would prove essential in understanding the essence of the beast. They succeeded! The Chandler Limited RS124 nails the behavior and sonics of the original - which Peter Cobbin, Abbey Road's Director of Engineering, describes as "pure cream being drizzled slowly into and over a mix.”Chandler Limited RS124 Compressor at a Glance:Put a legendary compressor in your rackWhat the RS124 can do for youYour sonic obsession: Chandler's missionPut a legendary compressor in your rackThe Abbey Road RS124 is a holy-grail compressor. It has a lovely, colorful sound, and a colorful back story. In the late 1950s, EMI procured several Altec 436B tube compressors for their London studios. In 1960, EMI engineers modified them so heavily (and as they were never used outside of Abbey Road), they felt comfortable re-naming them, and thus, the RS124 was born. Imagine getting your hands on the compressor that was used on virtually every Beatles recording made at Abbey Road Studios! The RS124 lives on, courtesy of Chandler Limited. The Chandler Limited RS124 sounds incredible - and like no other compressor you've ever used.What the RS124 can do for youThe RS124's smooth, creamy sonic character and transient-taming prowess comes without a hint of muffling during heavy compression. Once you use the Chandler Limited RS124, you'll find out what Abbey Road engineers quickly realized: this is an indispensable tool for tracking, bus compression, mixing, and mastering. Along with original Input, Output, and Recovery (release) controls and the unique Hold setting, the Chandler Limited RS124 ups the ante with modern features like adjustable attack, selectable output impedance, and the cutting-edge SuperFuse. Google up some photos of Abbey Road Studios in the 1960s. You will see an RS124 in just about every control room. Wouldn't it be great to have one (or two) in yours?Your sonic obsession: Chandler's missionRecording engineers are always looking for fresh tonal colors when tracking, mixing, and mastering - it's an obsession. Chandler Limited feeds this addiction with their innovative take on the technologies of the past. They start with painstaking component selection. Every parts list reads like a 50-year-old document. Take it from Sweetwater - they just don't build 'em this way anymore. Hand-wired and assembled in their Shell Rock, Iowa, factory, Chandler Limited hardware utilizes only the highest-quality tubes and components, 100% discrete-transistor circuitry, and specially wound transformers. Aside from the fact that you'll have this gear forever, the weapons-grade build quality is a means to an end - the sound. Glorious, fat, supremely musical sound, with amazing headroom.Chandler Limited RS124 Compressor Features:A spot-on re-creation of the legendary Abbey Road RS124Optimized for use in modern studio environmentsVersatile design with multiple sonic personalitiesVariable Input and Output Attenuation controlsAttack: selectable, stepped (9 settings)Recovery: selectable, stepped (6 settings, plus Hold)2U steel rackmount chassisXLR input and output, transformer-balanced (custom-wound)Output impedance: 200/600 ohms, switchableSuperFuse (switchable mode)Hand-wired and assembled in Chandler's Shell Rock, Iowa, factoryChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The Chandler Limited TG1 Abbey Road Special Edition limiter is an authentic re-creation of the classic EMI TG12413 - used on The Beatles' Abbey Road and Pink Floyd's Dark Side of the Moon albums. Although the TG12413 was never offered commercially, Chandler Limited has resurrected the beast from the original design specifications and circuit board drawings as provided by Abbey Road Studios and EMI. This compressor/limiter features an all-discrete circuit with transformer-balanced input and output that produces smooth, pleasing distortion. For a distinctive Abbey Road sonic flavor, put Chandler Limited's TG1 Abbey Road Special Edition limiter in your rack.At a Glance:A re-creation of the amazing-sounding classicYou're in good company: The Beatles, Pink Floyd, The Stones...Pure vintage sound from discrete circuitry and transformer-balanced input and outputA re-creation of the amazing-sounding classicThe Chandler Limited TG1 Abbey Road Special Edition is a re-creation of the classic EMI TG12413 limiter used in custom EMI and Abbey Road recording and mastering consoles from the late 60's. The TG Limiter was originally designed to have the characteristics of the Fairchild 660/670, which was adored by many EMI engineers - including Geoff Emerick - but ended up with a very special sound all its own. These rare pieces were never commercially available and only EMI-owned studios had access to them. The Chandler Limited version has been remade from the original design information and circuit board drawings as provided by Abbey Road and EMI to ensure extreme authenticity.You're in good company: The Beatles, Pink Floyd, The Stones...TG equipment was used on many classic records and this Limiter was featured on every channel of TG consoles used to record The Beatles' Abbey Road, several Pink Floyd records, including Dark Side of the Moon, Paul McCartney, and the Rolling Stones. When you use Chandler Limited's TG1 Abbey Road Special Edition limiter, you'll immediately hear the sonic ancestry. This limiter sounds totally gear.Pure vintage sound from discrete circuitry and transformer-balanced input and outputThe Chandler Limited TG1 Abbey Road Special Edition limiter features an all discrete circuit with transformer-balanced input and output. The limiting element is a rarely seen diode network that produces smooth, pleasing distortion. The warm open sound, often compared to the holy grail Fairchild 670, is very punchy, while maintaining exceptional clarity and high frequency response. You've simply got to hear one in action to fully appreciate a limiter of this magnitude.Selectable Compression/LimitingTHD control lets you bypass Comp/Limiting but still pass audio through the circuitryTransformer balanced inputs and outputsNew input control provides better control at lower amounts of compressionChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The Chandler Limited RS660 tube compressor/limiter is Inspired by the classic program levelers used by engineers at EMI Abbey Road Studios in the 1960s. From the Beatles to early Pink Floyd, the historic Fairchild 660 and EMI RS124 compressors shaped the sound of countless iconic recordings that emerged from the legendary London facility. The eminently musical performance of these units stemmed from their “vari-mu” circuits, which generated program-dependent gain reduction by automatically adapting to the dynamics of the incoming signal to efficiently manage levels while allowing vocals and instruments to bloom with vibrancy and punch. Meticulously handcrafted by Chandler Limited, the RS660 builds upon the sonic magic of these rare, prized vintage compressors in an innovative modern design that advances the state of the art in dynamics control.The best of vintage and modernBuilt around the venerable 6386 mil-spec vacuum tube, the RS660 is, not surprisingly, engineered more efficiently than the coveted vintage units that inspired it. After all, today’s cutting-edge technology and advanced materials science enable high-precision design and manufacturing unimaginable back in the 1960s. No mere reproduction, however, the RS660’s elegant and refined compression circuit is painstakingly tuned to deliver a sound that combines the sought-after sonics of its Fairchild namesake along with modern flexibility, vanishingly low noise, and impeccable behavior, no matter how hard you push it. The RS660 is a professional tool that can tame the dynamics of any source, from subtle vocals to hard-hitting drums — and everything in between. The single-channel RS660 is also linkable to a second unit for stereo operation — ideal for pumping up drum buses and complete mixes.Built like a tankBack in the day, pro audio gear was handcrafted using military-grade materials and through-hole components — and that’s how Chandler Limited builds its equipment today in Shell Rock, Iowa. Accordingly, the RS660’s vintage-inspired circuitry is ensconced in a rugged dual-rackspace chassis with a stout faceplate, a beefy internal power supply, transformer-balanced XLR I/O, and selectable output impedance. As did the classic compressors that inspired it, the RS660 provides a tactile sensory user experience. The throw of its pots engenders a confident, spoon-in-honey feel that, at first touch, suggests you’re using a serious piece of high-end kit — and the world-class results confirm it. The Chandler Limited RS660 represents a significant advancement in the art of signal dynamics processing.Features:Designed in cooperation with EMI Abbey Road StudiosSingle-channel, linkableTransformer-balanced I/O, XLROutput impedance: selectable, 200/600 ΩContinuous input and output gain controlTime constant: 7 positions, steppedModes: THD, Comp, LimitStereo Link: switchable, 1/4-inch jackInternal power supply

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

Συνδιάζοντας τον πλούσιο, ζωντανό ήχο των vintage compressors με τον καθαρό και ακριβή χαρακτήρα των μοντέρνων επεξεργαστών, ο Wes Audio BETA76 FET είναι ο απόλυτος compressor/limiter για κάθε μουσικό studio. Χαρακτηριστικά:  Δύο (2) λειτουργίες: Modern/Vintage Ένα (1) κανάλι Ρυθμιστικά: Attack, Release, Ratio switches, Modern/Vintage input modes Attack time: 20 ms - 800 ms Release time: 50 ms - 1100 ms Ratio: 4:1, 8:1, 12:1, 20:1 True Bypass Απόκριση Συχνοτήτων: 20 Hz - 20 kHz (+/- 1 dB) Αντίσταση εξόδου: 600 Ohm SC high-pass filter - 60, 90, 150 Hz Signal to noise ratio SNR > 83 dB Ενισχυμένη λειτουργία σύνδεσης Συνδεσιμότητα: 1 x XLR (είσοδος), 1 x XLR (έξοδος), 6.3 mm jack link connector Format: 19 "/ 2 U Διαστάσεις: 88 x 483 x 235 mm Βάρος: 6 kg

Προσθέστε τον ζωντανό και πλούσιο ήχο του vintage compression στο στούντιο σας με τον Wes Audio Vari-Mu Timbre. Το ισσοροπημένο κύκλωμα των λυχνίων είναι βασισμένο στην 6386 και στον STA-Level compressor.Χαρακτηριστικά: Carnhill μετασχηματιστές 6386 λυχνίες Λειτουργία Single / double / triple  Απόκριση Συχνοτήτων: 20Hz-30kHz Mέγιστο gain: 45 dB Μέγιστο gain reduction: 40 dB Διαλογέας 6 θέσεων release time Επιλέξιμο side-chain και high-pass φίλτρο Λειτουργία Bypass  Λειτουργία Link  Balanced XLR είσοδος και έξοδος. Format: 19" / 2HE Διαστάσεις: 483 x 88 x 235 mm Βάρος: 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.

Γραφικό equalizer 2/3 της οκτάβας, 2x15 περιοχών. Επιλεγόμενο εύρος αυξομείωσης 6/15dB, φίλτρο Bessel αποκοπής χαμηλών συχνοτήτων στα 40Hz με 18dB ανά οκτάβα. Hλεκτρονικά ισορροπημένες (balanced), unbalanced και RF φιλτραρισμένες είσοδοι και έξοδοι με XLR, TRS jacks και γυμνών επαφών, 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

The CX2310 stereo 2-way/mono 3-way crossover provides amazing-accurate audio frequency separation, thanks to its state-of-the-art circuitry, superior-grade components, ultra low-noise op amps and balanced I/O connectivity. Additionally, the CX2310 features an independently-adjustable Subwoofer Output, effectively providing an extra low-frequency band a control range from 10 - 235 Hz. By using 1% metal film resistors, along with other extremely tight-tolerance components, the CX2310 is able to guarantee surgically-precise frequency selection with incredibly-low thermal noise. Put simply, the easy-to-use SUPER-X PRO CX2310 is one of the best-sounding crossovers in its class! Sound Quality When a sound system is properly tuned, it becomes powerful, balanced and efficient. Bass content is punchy and tight, with vocals and instruments that are rich, crisp and well defined. The CX2310 crossover’s accurate signal processing protects critical loudspeaker components and improves overall system efficiency. All Input and Output connections are balanced/unbalanced XLR and feature 25 Hz Low Cut filters for low-frequency driver protection – plus Mute and Phase Invert switches, making troubleshooting even a large system – virtually effortless! What’s a Crossover? Chances are if you’re reading this, you already know what a crossover is – and you know that you need one. But if you are new to multi-way PA systems, here's a brief overview. Loudspeakers (which we call transducers) convert electrical signals into sound waves. And no matter how well a transducer is designed or made, it simply cannot reproduce the entire audio spectrum all by itself. Low-frequency sounds tend to push a transducer to the maximum, making it impossible for that same transducer to reproduce the treble content with the sound quality it deserves. (Try singing high falsetto next time you’re bench-pressing your limit!) That's why high-quality sound systems use multiple speakers (woofers and tweeters) to spread out the work. While the woofer (usually the larger transducer) does all the heavy lifting, the tweeter can easily handle the high-frequency content. Three and four-way systems distribute the work even more, allowing the individual transducers to reproduce the frequency range for which they were designed. It is the crossover’s function to divide these tasks between the various amplifiers and transducers. Divide and Conquer The CX2310 provides two modes of operation: 2-way stereo, for Left and Right Lows (woofers) and Highs (tweeters); and 3-way mono, for Lows, Mids and Highs. In either mode, there is an additional output provided for a mono Subwoofer, with its own Frequency and Level controls. This extra feature effectively turns the CX2310 into a stereo 2-way + mono 1-way, or a mono 4-way frequency crossover. The Subwoofer Output is presented in mono, since people perceive extremely-low bass frequencies as being omnidirectional. For your convenience, the CX2310’s front panel features an elegant and easy-to-read LED matrix, so you can see at a glance which operating mode has been selected – and which controls are currently active.

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

Compact and competent. The Track One is a fully equipped channel strip for fast and reliable voice and instrument recording, meeting the highest demands on sound and reliability. Mic/Instr./Line Preamp The Track One is equipped with two preamps: a microphone preamp with 48V phantom power and a separate instrument preamp. Both are tuned to a sound-neutral, open and transparent characteristic. The low-cut filter can be used for both preamps. De-Esser The Auto-Dynamic De-Esser unobtrusively and effectively removes disturbing S-sounds by detecting only the “S-frequencies” and reducing them by phase cancellation. The Auto-Threshold control maintains constant processing even if the distance between the singer and the microphone varies. Operation is reduced to just one knob that sets the desired S-reduction. Kompressor / Limiter The compressor is also extremely easy to operate via a controller; its strength lies in its unobtrusive, musical operation. The compressor/limiter section has excellent noise and distortion data. Equalizer mit Air Band For Track One, an EQ section has been designed specifically for processing voices and acoustic and electronic instruments. The Air Band filter works on the basis of a coil/condenser filter. Output & Metering The variable Output helps adjusting the gain to optimally drive following equipment. In the display the output level, S-Reduction activity, signal presence and overload as well as the compressor’s gain reduction are shown. Specifications: Analog inputs & output; XLR & TRS Jack (balanced) Maximum input gain (Line): 28 dBu Maximum input gain (Instrument): 12 dBu Input impedance (Line): 12 kΩ Input impedance (Instrument): 1 MΩ Output impedance: 50 Ω Frequency range (-3 dB): 10 Hz – 180 kHz Noise (A-weighted, Mic Preamp, 20 dB Gain): -97.5 dBu Noise (A-weighted, Mic Preamp, 40 dB Gain): -91.0 dBu Noise (A-weighted, Mic Preamp, 62 dB Gain): -67 dBu E.I.N. (150 Ω): -129 dBu Noise (A-weighted, Line/Instr Preamp, 7 dB Gain): -98.4 dBu Noise (A-weighted, Line/Instr Preamp, 20 dB Gain): -95.8 dBu Noise (A-weighted, Line/Instr Preamp, 42 dB Gain): -77.2 dBu Common mode rejection (1 kHz): 80 dB Dynamic range: 115 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): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 315 mA Fuse for 115 V: T 630 mA Power consumption: max. 20 W Dimensions & Weight W x H x D (width x height x depth): 482 x 44 x 300 mm Unit weight: 4.15 kg Shipping weight (incl. packaging): 7 kg

Dual-Channel Microphone Preamplifier in 120V-Technology With the Crescendo duo, we are expanding our 120V microphone preamp portfolio with a dual-channel version of the Crescendo. The Undistortable Crescendo duo convinces with the same outstanding sound and technical features as the flagship of the product range – the eight-channel Crescendo. It is almost impossible to overdrive this microphone preamplifier. It shines with absolute signal fidelity and clarity and lets microphones appear in a whole new light – because they have never been amplified like this before. 48 V  The phantom power required for the use of condenser microphones is activated with the 48V switch. VU -10 In the Crescendo duo, high gains can be used to optimally drive subsequent AD converters. Should the VU meter therefore deflect too far, you can reduce the displayed level by 10 dB. Ø Turn the polarity of a microphone signal 180° by activating the polarity reversal switch. HP A high-pass filter with 6 dB per octave reduces subsonic noise below 120 Hz. Mic Gain The gain is adjusted by a 12-step switch. The pre-amplification ranges from +18 dB to +70 dB. Output The switchable output control allows level adjustment to subsequent devices. The control range is +/- 10 dB. This results in a total gain of 80 dB.   Pad For loud input signals (including line signals) the input sensitivity can be reduced by 20 dB. Built-in Output Splitter Both microphone preamps have dual outputs. The often needed splitter is therefore already built in. Record the microphone signal on a recording system and at the same time record it on a backup system. Specifications Analog input & output XLR (balanced): Maximum input & output level: 32.5 dBu Input impedance: 10 kΩ Output impedance: 75 Ω Frequency range (-3dB): 20 Hz – 100 kHz THD + N (10 Hz – 22 kHz, 32 dB Gain): 0.002 % THD + N (10 Hz – 22 kHz, 63 dB Gain): 0.001 % Noise (A-weighted, 150 Ω, 32 dB Gain): - 94 dBu Noise (A-weighted, 150 Ω, 63 dB Gain): - 67.5 dBu E.I.N. (150 Ω): -130.5 dBu Common mode rejection (1 kHz): 88 dB Internal Linear Power Supply with Shielded Toroidal Transformer: Operating voltage for audio electronics: +/- 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. 20 VA Dimensions & Weight: W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 6.1 kg Shipping weight (incl. packaging): 9 kg

Bettermaker Mastering Equalizer for those who seek outstading EQ quality with the convinience of fast and precise recall and automation. MEQ offers 100% signal path,  Passive as well as parametric filters, Highpass filter with changable slope and resonanse, Stereo/Dual mono/MS operation and a metering section with EQ curve representation. All this with mastering grade sound and patentedrecall with a speed of a native plugin.    Mastering Equalizer:  100% analog audio signal path  USB connectivity with MAC/PC  all parameters are digitally controlled via touchscreen and/or DAW (with dedicated plugin)  399 presets with unique names, total recall, A/B comparison  5-inch capacitive touchscreen with backlight, four encoders with push-button action for ease of control  stereo, dual-mono and mid/side operation modes with focus function  stereo 12 or 24dB/oct high-pass filter with adjustable cutoff frequency (10Hz – 240 Hz; extended to 6Hz with the resonance enabled)  four stereo parametric filters with 15dB boost/cut range, variable Q (0.2 – 7):  EQ1: 22Hz – 470Hz (bell/shelf)  EQ2: 90Hz – 2kHz (bell)  EQ3: 480Hz – 10kHz (bell)  EQ4: 1kHz – 23kHz (bell/shelf)  stereo passive equalizer with extended hi-boost section (air bands: 20 and 28 kHz)  stereo, 12dB/oct low-pass filter with adjustable cutoff frequency (2 – 38 kHz)  adjustable output level (+/- 10dB)  Frequency Search, Gain Lock, Note and Auto-Q functions  on-board measurement of PEAK/RMS levels and RTA analyzer  on-screen live representation of the equalization curve Digital Section: The sound of the Mastering Equalizer is of course based on the quality of its analog filters, precisely matched capacitors and inductors. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog equalizers: Save and recall presets from on-board memory (400 slots available) Instant reset of all parameters Rapid, precise and repeatable adjustments Precisely linked stereo operation with the ease of a single control DAW automation and recall of all available parameters   The digital section of the Mastering Equalizer is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It controls the parameters af all analog filters, watches over the user interface, presets management, audio measurement, USB connectivity and other Mastering Equalizer functions. Front panel and LCD touchscreen: The front panel of the Mastering Equalizer is build around big LCD touchscreen, that allows you to control almost all functions available in the device. It will show you live representation of the EQ curve and allow you to adjust filter gain and frequency with the touch and drag of your finger (check unique Frequency Search function!). Apart from that, you can also monitor input/output levels, access the FFT real time analyzer or store and recall presets using on-screen QWERTY keyboard. DAW integration: The Bettermaker Mastering Equalizer can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Equalizer Plugin. Technical specification (all filters enabled, set flat):  Frequency response 20Hz to 20kHz (+/- 0.2 dB)  Dynamic range: 102dB (+23dBu, 22kHz BW)  THD+N: 0.03% @ +4 dBu, 0.06% @ +18 dBu, 20 kHz BW  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  Crosstalk: min -100 dB @ 30Hz, max -65 dB @ 20kHz, +18 dBu, 20 kHz BW  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2%)  Operating Level: +4dBu  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep  115/230V switch  advanced linear power supply with toroidal AC mains transformer  Maximum power consumption: 20W  Shipping weight: 5.5 kg

Bettermaker Bus Compressor is for those who seek high quality stereo VCA compression with the convenience of fast and precise recall and automation. The bus compressor offers 100% analog signal path, Dry/Wet mix, sidechain with HPF, with hardware insert and preview function,  adjustable THD saturation and more.. All this with high analog quality and patented recall with a speed of a native plugin.  Bus Compressor:  advanced analog stereo VCA compressor with PEAK/RMS detection  all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)  dry/wet MIX control for parallel compression  sidechain high pass filter with hardware insert and preview function  adjustable THD for harmonically rich sound  on-board measurement of PEAK/RMS levels  100% analog audio signal path  total recall and A/B comparison from your favourite DAW  LED matrix display and six encoders with push-button action for ease of control  USB connectivity with MAC/PC   Digital Section: The sound of the Compressor is of course based on the quality of its analog audio path. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog compressors:  recall last unit state after reboot  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation and recall of all available parameters   The digital section of the Bus Compressor is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It's responsible for controlling the VCA, the user interface, presets management, audio measurement, USB connectivity and other Bus Compressor functions.   The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. High quality switching power supply, designed by Bettermaker, was used to provide low hoise, hum free power to all analog and digital components. Front panel: The front panel of the Bus Compressor is build around eye-catching LED matrix display, that allows you to monitor almost all functions available on the device, as well as input/output levels and amount of gain reduction applied by the compressor. Technical specification:  Frequency response 10Hz to 22kHz (+/- 0.2 dB)  Dynamic range: 106dB (+23dBu, 22kHz BW)  S/N ratio: 87dB (A-weighted, +4dBu, 22kHz BW, unity gain)  Crosstalk: -83dB @ 1kHz, +18dBu, channel-to-channel  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  THD: 2nd: < 0.06%, 3rd: < 0.01%; 4th: < 0.006%; (+4 dBu, 20-20 kHz, unity gain, THD and CLIP disabled)  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2% into >2kohm)  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep (Mastering Compressor)  1U enclosure, 230mm deep (Bus Compressor)  universal 100 – 240V power supply designed by Bettermaker  Maximum power consumption: 25W  Shipping weight: 5.5 kg (Mastering Compressor), 5 kg (Bus Compressor) Threshold: -35dB / +5dB (40dB range) Attack: 0.1 – 60 ms Release: 10 – 2000 ms Ratio: 1.5, 2, 4, 6, 10:1 Knee: 20dB Output: -5dB to +15dB Sidechain HPF: off – 370Hz Sidechain Feed: Forward Sidechain Type: PEAK/RMS

Bettermaker Mastering Compressor is for those who seek mastering grade compression with the convenience of fast and precise recall and automation. Mastering Compressor offers 100% analog signal path, high class VCA compression with, 3 different compression modes, sidechain with HPF, parametric and LPF section with hardware insert and preview function, Stereo/Dual mono/MS operation, adjustable THD saturation and more.. All this with mastering grade sound and patented recall with a speed of a native plugin.  Mastering Compressor:  advanced analog VCA compressor with PEAK or RMS detection and switchable forward/backward feed  all parameters are digitally controlled via front panel and/or DAW (with dedicated plugin)  stereo, dual-mono and mid/side operation modes with with focus and sidechain preview function  our famous BM, SG and DX modes  adjustable 15 – 30 Hz high pass filter at the compressor input  dry/wet MIX control for parallel compression  HPF, LPF and fully configurable parametric filter in sidechain with option of hardware insert  adjustable drive (for odd/even clipper) and THD function for harmonically rich sound  Range Setting – limit the maximum amount of gain reduction!  on-board measurement of PEAK/RMS levels  100% analog audio signal path  total recall and A/B comparison  five inch capacitive touchscreen with backlight  USB connectivity with MAC/PC Digital Section: The sound of the Compressor is of course based on the quality of its analog audio path. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog compressors:  Save and recall presets from on-board memory (400 slots available)  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation and recall of all available parameters   The digital section of the Mastering Compressor is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It's responsible for controlling the VCA, the user interface, presets management, audio measurement, USB connectivity and other Mastering Compressor functions.   The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. High quality switching power supply, designed by Bettermaker, was used to provide low hoise, hum free power to all analog and digital components. Front panel and LCD touchscreen: The front panel of the Mastering Compressor is build around big LCD touchscreen, that allows you to control almost all functions available in the device. Apart from that, you can also monitor input/output levels, amount of gain reduction applied by the compressor or store and recall presets using on-screen QWERTY keyboard. DAW integration: The Bettermaker Mastering Compressor can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Compressor Plugin. Technical specification:  Frequency response 10Hz to 22kHz (+/- 0.2 dB)  Dynamic range: 106dB (+23dBu, 22kHz BW)  S/N ratio: 87dB (A-weighted, +4dBu, 22kHz BW, unity gain)  Crosstalk: -83dB @ 1kHz, +18dBu, channel-to-channel  CMRR: max 85 dB @ 3 kHz, min 52 dB @ 20Hz, 20 kHz BW  THD: 2nd: < 0.06%, 3rd: < 0.01%; 4th: < 0.006%; (+4 dBu, 20-20 kHz, unity gain, THD and CLIP disabled)  balanced stereo input (XLR), 23dBu max input level (THD < 0.2%)  balanced stereo output (XLR), 23dBu max output level (THD < 0.2% into >2kohm)  Input impedance (differential): 48kΩ (for balanced signal)  Output Impedance: 50Ω + 50Ω (electronically balanced)  2U enclosure, 230mm deep (Mastering Compressor)  1U enclosure, 230mm deep (Bus Compressor)  universal 100 – 240V power supply designed by Bettermaker  Maximum power consumptin: 25W  Shipping weight: 5.5 kg (Mastering Compressor), 5 kg (Bus Compressor) Threshold: -35dB / +5dB (40dB range) Attack: 0.1 – 250 ms Release: 10 – 2000 ms Ratio: Variable 0.7:1 – 10:1 Knee: Variable 0 – 20dB Output: -5dB to +15dB Width (in M/S): -8dB to +8dB Range: Variable 0.1dB – 20dB / off HPF24: Off/15/20/25/30 Hz THD + DRIVE: off/odd/even Sidechain HPF: off – 370Hz Sidechain LPF: 2k – 18k / off SC MF gain: +/- 15dB SC MF freq: 0.5 – 10kHz SC MF Q: 0.2 – 8 Sidechain Feed: Forward/Backward Sidechain Type: RMS/PEAK

When you need premium sound quality limiting and convince of fast and precise recall and automation. The mastering limiter offers, 100% analog signal path, plugin recall and automation within your project, frequency dependent saturation, MS processing, enhanced metering section and a large LED touchscreen minimising clutter on your main studio screen. Get analog mastering sound quality results, fast and spare your recall time. Mastering Limiter: The sound of the limiter is of course based on the quality of its hardware design. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog limiter:  Save and recall presets  Instant reset of all parameters  Rapid, precise and repeatable adjustments  Precisely linked stereo operation with the ease of a single control  DAW automation  Comprehensive metering operations based on high quality A/D conversion and DSP Great care and thought went into the development and implementation of the analog section of the Bettermaker Mastering Limiter. High quality capacitors and low noise op-amps are used in the analog path. Relays were used, whenever creating the shortest path for the audio signal was necessary. The analog section consist of high quality input/output buffers capable of passing thru high level audio signals (up to +23dBu, balanced, THD < 0.1%) All these modules are controlled by the digital section of the Mastering Limiter, so no mechanical switches or knobs are required to adjust any of the parameters. Digital Section: The digital section of the Mastering Limiter is based around two high speed, 32- bit micro-controllers, with dedicated firmware programmed into their memory (with the possibility of updating the firmware via USB connection). One of them is responsible for controlling the VCA limiter, when the other watches over the user interface, presets management, audio measurement, USB connectivity and other Mastering Limiter functions. The use of separate ground planes for analog and digital section results in perfect noise isolation between these two worlds. The linear power supply was used instead the switching one to improve the sonic qualities even further. The front panel of the Mastering Limiter is build around big LCD touchscreen, that allows you to control almost all functions available in the device. Apart from that, you can also monitor input/output levels, amount of gain reduction (and clipping) applied by the limiter, perform advanced measurements (FFT, LUFS, K-metering), use on-screen QWERTY keyboard for  naming your presets and more. You can even display fully configurable, analog style VU meters! ​ Main features: The Limiter has 3 functionalities that are essential to make a perfect master. All of them are recallable by the internal memory and a plugin that also handles automation.Analog Mastering Limiter:  100% analog signal path  intelligent and manual release  variable mix between limiting and clipping possibility to turn off the clipping section, so you can clip with you favorite AD or other. Color, for giving that special flavor to your mix:  Two color modules introducing different saturation that can be used simultaneously  Color 1 with Majority of odd harmonics  Color 2 with Majority of even harmonics  Both color sections can be internally EQed so for example you can present more odd harmonics in the low end to give the mix more bite and sweeten the highs with the even harmonics at the top end. Metering: Metering, an additional screen in your studio. As it’s a touchscreen it also utilizes control functions of the Mastering Limiter. You can view your favourite set of stats.  Input, output and reduction  Analog style meters (VU, PPM, RMS, Peak with peak hold functionality)  LUFS (Short term, Integral, Loudness Range, view in time)  K metering  30 Band FFT analyzer  Goniometer  Correlation meter  Two points of measurement, the output of the Limiter or the plugin  and more… DAW integration: The Bettermaker Mastering Limiter can communicate with your DAW via USB connection. The unit appear as a HID device and can be managed via Bettermaker Mastering Limiter Plugin. Technical specification: Maximum input level: +21,5 dBu (balanced) Maximum output level: +23 dBu (THD < 0.1%) Operating Level: +4dBu Maximum gain reduction: 20 dB Makeup gain: automatic Attack time: 0.1 – 250ms Release time: 0.01 – 1.3s + IREL (intelligent release) Input impedance (differential): 48kΩ (for balanced signal) Output Impedance: 50Ω + 50Ω (electronically balanced) Frequency response 5Hz to 30kHz; +/- 0.1dB Dynamic Range: 106dB (+21dBu, 22kHz BW) THD+N: CMRR: max 80 dB @ 3 kHz, min 55 dB @ 50Hz, 20 kHz BW Crosstalk: min -90 dB @ 1KHz, max -55 dB @ 30Hz, +18 dBu, 20 kHz BW Maximum power consumption: 30W (uses 630mA slow blow fuse)

The BC1-THD provides smooth bus compression that applies for both mixing and tracking. Engineers call it “The Magic Glue” when the BC1-THD’s transparent compression strengthens mixes without compromising clarity. The built-in blend control makes it easy to apply parallel compression by adjusting the blend of dry and compressed signal. A switchable sidechain filter can be applied which makes the BC1-THD less responsive to low frequency energy. The THD function adds more harmonics to the signal and the “grab” mode selects a harder threshold knee on all four ratio settings. Smooth and transparent compression will never go out of fashion.

The T-Komp has a unique design that offers a modern take on the old vari-mu ratio curve. The ratio is level-dependent and increases with the signal level, a feature that will give you numerous possibilities. To make the T-Komp more useful it has two ratio ranges. The first one goes up to 20:1, perfect for instrument tracking and smashing drums, etc., the second, 2:1, is a more narrow range which makes it more suitable for bus compression.The T-Komp can be selected between feed-forward mode for a punchy, modern response or feed-back mode with a smoother, more musical response. The RMS detector has five settings, four from fast to slow where number four, the slowest, is similar to the old 160VU. The fifth position is a program-dependent adaptive mode.

Classic API Compression for the Modern Studio The API 2500+ Stereo Bus Compressor joins the company’s regular lineup, bringing all that formidable dynamics-shaping power to your rack in a sleek, space-saving 1U chassis. The API 2500+ model added a sophisticated Mix/Blend circuit to API’s venerable design coming form the anniversary edition. API’s flagship compressor delivers the inimitable sound of iconic API compression along with unparalleled parametric control. The result is an incredible-sounding, versatile, world-class stereo bus compressor capable of handling any audio production task. Meticulously designed to deliver a broad range of compression options and features not found on most compressors, the API 2500+ delivers warmth, clarity, and punch, whether used for nuanced dynamics control, brick-wall limiting, or anything in between. Parallel compression done right The Mix/Blend circuit found on the API 2500+ does a lot more than the simple wet/dry blend pot found on many modern compressors, giving you the option of either crossfading or parallel mixing of the compressed and uncompressed signals. First of all, the circuit can be hardwire relay bypassed entirely to deliver a purer signal than a standard blend pot simply maxed out to fully “wet” — a feature golden-eared engineers will appreciate. Next, when engaged and set to X (Cross), the Mix control lets you crossfade between fully uncompressed and fully compressed, literally increasing one while decreasing the other. In || (Parallel) mode, the MIX control effectively dials in your desired amount of compressed signal to blend in with the uncompressed signal, which remains constant. In case you’re wondering; trust us — these two active modes do sound and behave differently and you’ll quickly find uses for each. Equip Your Studio with Iconic API Compression If you’re after versatile compression, the API wrote the book. While the 2500+ is set up for stereo compression, you can also use it dual-mono. However you use it, though, you’ll have a range of compression styles to dial in — all highly musical, all incredibly usable. The 2500+ sports API’s patented Thrust circuit, a proprietary loudness contour that packs a powerful punch, imbuing each octave with the same energy (instead of half the energy as the next lowest one, as is the normal state of affairs).The Old/New Tone Type switch lets you choose between classic feedback and modern feed-forward compression styles. Whether you’re using it for drum stems, guitars, bass, vocals, or as a stereo bus compressor to pump up your mixes, the 2500+ delivers the iconic API analog sound and "slam factor" that has been relied on by recording engineers and heard on countless hits for a half century. Simply put: every serious studio needs the API 2500+. Incredibly versatile, highly musical When you choose API, you know you’re getting legendary sonic character. And with the API 2500+, you’ve got a range of character to choose from. To start, the 2500+ is equipped with API’s patented Thrust circuit before its RMS detector, which delivers punchy, old-school low end. There are also two types of compression onboard the API 2500+ — Old and New. The Old style uses the feedback type of compression in which the detector is placed after the VCA (as found on the classic API 525), while the New style uses a feed-forward type for a faster response typical of many popular modern compressors.The API 2500+ is stereo-ready, but sports a variable link between the left and right channels, so you can independently put the channels to work on your mono sources. Whatever way you use it, you’ll appreciate having API’s auto-makeup gain button on the output stage. It lets you vary the API 2500+’s threshold or ratio, while automatically maintaining a consistent output level. Sidechain input for creative ducking Every dynamics processor has a sidechain circuit that examines the signal and determines how much the VCA will reduce gain — but not every unit provides access to its sidechain. In compressors without a separate sidechain input, your main input signal is, essentially, compressing itself. With compressors that have a separate sidechain input — like the API 2500+ — you can introduce a different signal that determines the compression action on the main signal.An overt illustration of sidechaining is the “pumping” effect that’s popular in EDM production. A control signal — let’s say, a bass drum — is plugged into the sidechain input, triggering the detector and causing the main signal — a synth bass, in this example — to "duck," under each bass drum hit. This clears the way for maximum kick drum impact. Another classic use is for auto-ducking music under a voiceover, as in a radio commercial spot. Sidechaining can be used creatively in many ways, limited only by your imagination! API — the legendary American pro audio company No American pro audio company is more iconic than API. Launched in 1968 by Saul Walker, Automated Processes Inc. began building quality consoles for broadcast applications. Soon, the company’s products found favor with recording studios, and a string of industry-leading innovations (including the 500 Series module, the first VCA, computerized console automation, and more) followed. API produced the 2520 amplifier, one of the most famous op-amps in the recording industry, and their consoles and products found homes in such iconic studio facilities as the Hit Factory, Record Plant, Ocean Way, Sunset Sound, and many others.In fact, there are over 700 vintage API consoles around the globe — many of which are still in use. And the company certainly isn’t resting on its laurels; today’s API products give you the same unbeatable combination of utility, innovation, and great sound. That’s why, at Sweetwater, the name API commands reverence. API 2500+ Stereo Bus Compressor Features: * New Mix/Blend circuit with crossfade or parallel compression* Selectable ratio, attack, and release times* Expanded variable threshold between -20dBu to +20dBu* Selectable NEW or OLD switch for feed-forward or feed-back operation* Over Threshold LED illuminates when input audio crosses the set threshold* Patented Thrust filter with 3 settings for frequency-dependent sidechain control * 3 selectable compressor curve Knee settings: Soft, Medium, or Hard* Choice of Old (feedback) or New (feed-forward) compression* Preset or variable release time control* Variable Left/Right channel linking