Mic Preamps

The 1073 Legend Lives in Warm Audio's Splendid WA73-EQThe legendary 1073 wrote the book on characterful mic preamplification and EQ. These venerable circuits helped define the punchy sound of '70s rock — and countless recordings and live concerts ever since. Today, this coveted tone can be yours for a song, with the Warm Audio WA73-EQ mic/line/instrument preamp. In both design and performance, the WA73-EQ pays homage to the revered British console lineage that started it all. Throughout the audio industry, the 1073 is considered the holy grail of preamps and EQs, with a rich, sweet, and bold tonality that's ideal for making audacious statements with your music. After years of R&D, painstaking reverse-engineering, and countless hours of listening, Warm Audio captured the sonic essence of this classic perfectly in their boutique WA73-EQ. With 80dB of gain and a fully discrete transformer-balanced signal path, the sound is a revelation: harmonically rich bottom end, focused midrange, and slightly resonant highs.Handcrafted with top-quality parts Boasting weapons-grade build quality with discrete, handwired Class A circuits and top-drawer parts such as UK-made Carnhill transformers and Blore Edwards mil-spec, dual-concentric switch pots, the WA73-EQ has 80dB of gain on tap so you can capture subdued sources with your favorite ribbon mic. Your ribbons and condensers will sound heavenly; you'll even be gobsmacked when you hear how authoritative your dynamic mics sound. Cranking the input stage and backing off the output gain enhances your tracks with tasty vintage-style coloration. Topping off the feature set is an instrument jack, polarity reverse, 48V phantom power, and switchable impedance for tonal variation and to optimally match a variety of microphones.Optimize every source — and microphone There is no source that doesn't sound amazing through the Warm Audio WA73-EQ. With judicious mic selection and placement, drums are larger-than-life; DI bass and keyboards sound massive and synths become trance-inducing; electric guitars soar; vocals rule. Pianos and acoustic guitars are resplendent. Orchestral instruments — strings, woodwinds, brass, and percussion — achieve ineffable lushness and dimension. You can even use the WA73-EQ as a tone-shaping tool to run stems or complete mixes through. Hear what the WA73-EQ can do for your own recordings. It's transformative.Definitive British EQ The EQ section of the WA73-EQ adheres to the classic 1073 circuit topology. The vintage 1073 is the holy grail of EQ, and the WA73-EQ nails its sonics and behavior (complete with its fabled harmonic distortion). It's a three-band affair, with HF shelving at 10, 12, and 16kHz; midband peaking with selectable center frequencies at 360Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, and 7.2kHz; and LF shelving, selectable at 35Hz, 60Hz, 110Hz, and 220Hz. A highpass filter, selectable at 50Hz, 80Hz, 160Hz, and 300Hz, lets you trim your signals of unwanted low end. If you've never worked with a 1073-style EQ before, all we can say is: you're in for a serious treat. It's worth noting that the original 1073 offered only a fixed 10kHz shelf, and the additional high-frequency flexibility afforded by the WA73-EQ is most welcome.UK Custom Carnhill transformers 1073-loving engineers at Sweetwater perk up when the conversation turns to the component history of these classic circuits, and signal transformers are a frequent topic of discussion. Vintage 1073s used different transformer variants throughout their production run; but the most coveted were the very first ones made by Marinair Radar, due to their fluid and forgiving nature that saturates sweetly when pushed. They have been known to bring engineers to tears when they hear how gorgeous their mixes sound through them! Warm Audio turned to Carnhill Transformers of Cambridgeshire, UK, to design meticulous replicas of these most desirable early 1073 transformers. The results are stunning, and — to our ears — tantalizingly close to early vintage 1073s.Warm left no stone unturned A vital yet not-often-discussed component of these classic British circuits is the different types of capacitors and output transistors used. To maintain the integrity of the original circuits, Warm decided to use high-quality tantalum and polystyrene capacitors in the signal path and an output transistor choice that delivers smoother results at higher gain settings than what is commonly found in today's 1073-style preamps. All considered, Warm Audio's monumental effort to design a no-compromise product has paid off handsomely. You'll appreciate this every time you plug into the WA73-EQ and hit record.Warm Audio WA73-EQ Mic/Line/Instrument Preamp and EQ Features: Handwired and hand-assembled, single-channel 1073-style preamp/EQFully discrete, Class A, transformer-balanced circuitryUK-made Carnhill Transformers80dB of gain handles any type of microphone, including low-output ribbonsResistor-stepped rotary gain switch for easy recallTone button changes input transformer impedance for mic optimization and tonal shapingPolarity switch48V phantom power4-position inductor-based highpass filter, selectable for Off, 50, 80, 160, or 300HzInductor-based 3-band equalizationLow-band boost/cut at 35, 60, 110, or 220HzMid-band boost/cut at 360, 700, 1600, 3200, 4800, or 7200HzHigh-band boost/cut at 10, 12, or 16kHzAdditional high-band frequency EQ points added (compared to vintage 1073)XLR mic inputLine-level TRS inputTS Send/Receive insert jacksXLR and TRS line-level outputsDI instrument inputOutput level controlLED level indication meterRugged 19" rackmount chassisGround lift switchInternal IEC 115V/230V power inlet

The WA-MPX is an authentic reproduction of the vintage tape machine tube preamp that started the birth of rock ‘n’ roll known for pure analog warmth, delivering an impressive 300v of raw power & 90dB of tube gain. During the golden era of tape recording, the original 351-style tube preamp became the kings of studio tech and signature sound in the signal chain of hit recordings for artists including Elvis Presley, Bing Crosby, Les Paul, Nat King Cole, and Roy Orbison and producers like Steve Albini- a timeless sound that continues to be pursued by elite audio engineers today. With premium components, true-to-original circuit design, and selectable tape saturation, the WA-MPX authentically reproduces all the analog tone of the original to bring vintage warmth & color to your sound.

The small version of the PRE-73 offers the same sound as its big brother in a super-compact 4.75" chassis at an unbeatable price. Thanks to the insert jack on the back, the manufacturer's EQ units can be easily combined with the Preamp. In addition, a DI input is located on the front, so that instruments can be preamplified in addition to all common microphone types. The Mk II also offers the user a 2-stage high-pass filter and the popular Air EQ in 2 stages. With a subtle boost at 30kHz, the audio material is significantly upgraded; it sounds more refined, HiFi-like and gets a pleasant presence in the mix.Due to the high level of low-noise preamplification, the PRE-73 is also suitable for low-level dynamic microphones such as the Shure SM7B, the Electro Voice RE20 or ribbon microphones.

Ιn 2000, the model 101 helped fuel a revolution. When people took professional recording into their own hands, it was there with all of the quality and performance of a high-end mic preamplifier, but with a price that made it available to the masses. 8 years later, and the cause moves forward with the newly redesigned m101.With its impressive list of new features, the m101 is ready to give any mic preamplifier a run for its money. Consider the new audio signal path with 0.5% precision metal film resistors, 12 position gold plated rotary gain switch, a built-in universal AC input module, or our exclusive RIBBON mic mode - and the picture becomes clear: This is now a fully professional, state of the art precision mic preamp that roundly outperforms anything in its class. All this at the same affordable price of the original model 101.  From podcast to concert hall, the m101 brings the build quality, refinement and performance to revolutionize any recording facility Fast and musical transimpedance architectureUpdated audio path with 0.5% precision metal film resistors New 12 position gold plated rotary gain switchHigh performance output line driver amplifier and HPF amplifierNew Ribbon mic mode (also great for dynamic mics)-  Relay bypass of phantom power decoupling capacitors, increased input impedance, and 48V lockoutWider 10-75dB gain range Enhanced RFI interference suppression Three output connectors: XLR balanced, TRS balanced and Ό” unbalancedBombproof laser-etched black anodized frontpanelSealed gold contact relay for Hi-Z input switching Built in power supply / no wall-wart! Led indicators for +48V, Ribbon mode, and HPFFive year warranty on parts and labor Made in the USA

Manley designed the Core reference channel strip so that you can hit record and focus on your performance, not your signal chain. It sports the quality, performance, and flexibility their VOXBOX is known for, at a price that makes it accessible to any serious artist or engineer. You get a world-class Manley mic pre, followed by a 3:1 ELOP style compressor for effortless dynamic control. Engineers at Athens Mastering are ecstatic over the active Baxandall EQ, and a fast attack FET brickwall limiter at the end of the chain protects your converters from accidental clipping. Even if you plug right in without tweaking a single knob, you're sure to get an amazing sound.Manley Core Reference Channel Strip Features:Easy to use and awesome-sounding channel strip based on the award-winning VOXBOXClass A tube mic preamplifier with Manley's hand-wound transformersDirect input uses the same circuit as the Manley SLAM! for fantastic direct-instrument recordingsELOP compressor with 3:1 ratio tames any signal transparentlyBaxandall EQ with low/high shelving and sweepable mid for flexible sonic sculptingFast attack FET brickwall limiter ensures you don't clip your converters during recordingFlexible metering can display input, output, and compressor gain reduction levels 

High Fidelity Microphone Preamplifier Like the updated m801mk2, our freshly redesigned m201mk2 provides a full serving of our unique brand of audio performance. It delivers massive headroom, ultra-wide bandwidth and a very open, musical character. The fully balanced signal path has been refined, resulting in incredible dynamic range. A new power supply design provides the lowest noise performance we have ever achieved. This all means the new m201mk2 will translate a sonic picture of astonishing clarity and detail, which captures the essential character of the music being recorded. Changes over the previous design find the m201mk2 more essential and a bit more paired down. We have eliminated the A/D option as this is functionality is now best served buy our current m108 8 channel mic preamp A/D. We have eliminated the M+S matrix and a few other functions to really focused on making the finest, purist style 2 channel mic preamp we can. These refinements also serve to bring the price down to where even more recording engineers can now afford Grace Design flagship mic preamp performance. The m201mk2 will bring out the very best in your entire microphone collection. Your favorite large diaphragm mics will sound like they were intended, with detail and texture in extra measure. Your humble dynamics mics will come alive with newfound dynamics and clarity. Ribbons mics will perform their best with our exclusive ribbon mic mode, which shifts the gain range up 10dB while deactivating 48V phantom power, bypassing the decoupling capacitors and optimizing the input impedance. FREQUENCY RESPONSE: @ 20dB gain ± 3dB 150Ω source: 3.2Hz-530kHz @ 20dB gain ± 0.2dB 150Ω source: 14.8Hz-109kHz @ 40dB gain ± 3dB 150Ω source: 3.2Hz-500kHz @ 40dB gain ± 0.2dB 150Ω source: 15.4Hz-103kHz THD+N: @ 20dB gain +20dBu out, 1kHz:

A superb addition to the Neve® outboard range, providing two of our world-famous Class A 1073® microphone preamplifiers in a single rackspace.The big, punchy sound of the 1073® compliments any musical genre, from rock to pop, hip-hop to rap, thrash to classical. Its lush sound with classic Neve® signature makes it the consummate mic pre for recording vocals, guitars, and acoustic instruments of all descriptions. With the 1073®DPA, the highly sought-after 1073® mic amp sound is now available in a cost-effective 1U stereo rackmount solution, without the additional EQ found on the classic 1073 unit.The 1073®DPA provides the legendary sound of Neve in a remarkably simple format. Two rear-panel Mic inputs and Line inputs feed dual Class A gain stages, with adjustable Gain control and selectable 48V available on the Mic inputs. Class A analogue outputs in XLR format are also found on the rear panel, controlled via adjustable front-panel ±10dB Trim controls. This stereo unit is the perfect solution for studios looking to bring in the very essence of the legendary 1073® sound.Fearures:Two legendary 1073®  microphone preamps in a convenient 1U rackmount designHand-crafted and hand-wired by Neve in Burnley, UKExclusive Neve®  Marinair™ transformers used on input and output stagesDedicated input Gain controls and output Trim controls on both channels+48V Phantom Power and Phase Reverse switchHigh quality Input Selector switch

Channel One Mk3The perfect front-end for the modern producer.For over 20 years, Channel One has been a synonym for a high-quality and extremely musical recording and mixing channel strip.In the newest Mk3 version, this classic has been thoroughly revised and, in addition to a higher internal audio voltage (now +/-18 V) for even better, more detailed sound, a further improved preamplifier section, an integrated Transient Designer, a Tube Saturation stage and a Mic A/B comparison option for two microphones and other great features that raise the modern recording and mixing studio to a new level of quality. With de-esser, compressor and equalizer, all the important tools of a real channel strip are still on board. Whether it’s a microphone, line, or instrument signal, the Channel One Mk3 makes any source sound like a professionally recorded signal.The new design of the SPL Studio Series perfectly highlights the sonic qualities of this 3rd generation Channel One.Packed with must-have toolsThe SPL Channel One MK3 Premium channel strip packs a wealth of features, including a discrete preamp, 3-band EQ, compressor/limiter, noise gate, and de-esser, making it the ideal front end for your DAW. Plug into this stellar-sounding channel strip and enjoy the world-class sounds that you've heard in your head but have been unable to achieve in your studio. Whether you want to record vocals, instruments, or any other audio source, the SPL Channel One MK3 Premium channel strip will imbue your recordings with the lustrous, expensive sound you've been craving.

The Scarlett OctoPre Dynamic comprises eight natural sounding, low noise preamps with plenty of gain; eight line inputs and two high headroom instrument inputs, coupled with high quality digital  conversion to ADAT format. You can now expand your studio set-up or live rig by adding Focusrite quality mic preamps and conversion to any interface with ADAT I/O.The Scarlett OctoPre Dynamic has both digital and analogue outputs: in addition to dual ADAT optical ports it also provides a balanced line output from each channel, enabling you to connect it directly to any analogue device.Features:8-channel mic/line preamp expansion with ADAT I/O8 x 2nd-generation Scarlett mic/line presPer-channel soft-knee VCA compression8 line outputs: fed directly from the mic inputs or sourced from ADAT inputUp to 24-bit/192kHz AD/DA for high-resolution audioADAT I/O to expand any ADAT-equipped interfaceMic pres and rear-panel instrument inputs engineered with generous headroom5-segment LED metering and channel clip indicators48-volt phantom power available across all inputs (switchable: 1-4, 5-8) 

Classic British Console Sound on a BudgetThe Pre 73 MKIV is Golden Age Audio’s latest and greatest update to their best-selling ‘73-style preamp series. The spirit of classic British consoles lives on in the Pre-73 MKIV, and it sounds warm, punchy, sweet, and musical. Use it to add tone and color to your favorite mics, or keep things clean; it also doubles as a line-level preamp and DI box for electric guitar and bass. Get classic console tone—and get the most out of your mic locker.Classic console color—if you want itGet vintage color and punch by cranking up the Gain knob without fear—a dedicated Output control lets you attenuate the signal so you can drive the preamp without overloading your interface inputs. Engage the -14dB pad for even more control of hot signals, or keep things clean and transparent by backing off on the Gain and turning up the Output. Further sculpt your tone via the selectable low-pass filter to eliminate unwanted low-end rumble at the source, and use the selectable top-end Air EQ to add some shimmer and presence to your top-end. Use the Low-Z switch to toggle between 1200 or 300 Ω resistance and hear how your mics react!Connect to anythingThe Pre-73 MKIV’s switchable +48v mic input lets you use both condenser and dynamic microphones, while its 80 dB of Gain make it ideal for use with sensitive ribbon microphones on delicate sound sources. Line- and instrument-level inputs allow further connection to nearly any audio source, and you get an Insert jack for using external processors like EQs and compressors. You have your choice of TRS or XLR out.Quality firstTrue to classic preamps of yesterday, the Pre 73 MKIV was designed with a focused attention to component choices and build quality not found in other preamps near the same price. No surface-mount components or integrated circuits are used, and all inputs and outputs are transformer-balanced, using two different purpose-optimized transformers. Its external power supply eliminates the risk of self-noise, and its metal half-rack chassis is both sturdy and portable.

The 1073 Legend Lives in Warm Audio's Splendid WA273The legendary 1073 wrote the book on characterful mic preamplification. This venerable circuit helped define the punchy sound of '70s rock — and countless recordings and live concerts ever since. Today, this coveted tone can be yours for a song, with the Warm Audio WA273 mic/line/instrument preamp. In both design and performance, the 2-channel WA273 pays homage to the revered British console lineage that started it all. Throughout the audio industry, the 1073 is considered the holy grail of preamps, with a rich, sweet, and bold tonality that's ideal for making audacious statements with your music. After years of R&D, painstaking reverse-engineering, and countless hours of listening, Warm Audio captured the sonic essence of this classic perfectly in their boutique WA273. With 80dB of gain and a fully discrete transformer-balanced signal path, the sound is a revelation: harmonically rich bottom end, focused midrange, and slightly resonant highs.Handcrafted with top-quality partsBoasting weapons-grade build quality with discrete, handwired Class A circuits and top-drawer parts such as UK-made Carnhill transformers, the WA273 has 80dB of gain on tap so you can capture subdued sources with your favorite ribbon mic. Your ribbons and condensers will sound heavenly; you'll even be gobsmacked when you hear how authoritative your dynamic mics sound. Cranking the input stage and backing off the output gain enhances your tracks with tasty vintage-style coloration. Topping off the feature set are per-channel instrument jacks, polarity reverse, 48V phantom power, and switchable impedance for tonal variation and to optimally match a variety of microphones.Optimize every source — and microphoneThere is no source that doesn't sound amazing through the Warm Audio WA273. With judicious mic selection and placement, drums are larger-than-life; DI bass and keyboards sound massive and synths become trance-inducing; electric guitars soar; vocals rule. Pianos and acoustic guitars are resplendent. Orchestral instruments — strings, woodwinds, brass, and percussion — achieve ineffable lushness and dimension. You can even use the WA273 as a tone-shaping tool to run stems or complete mixes through. Hear what the WA273 can do for your own recordings. It's transformative.UK Custom Carnhill transformers1073-loving engineers at Sweetwater perk up when the conversation turns to the component history of these classic circuits, and signal transformers are a frequent topic of discussion. Vintage 1073s used different transformer variants throughout their production run; but the most coveted were the very first ones made by Marinair Radar, due to their fluid and forgiving nature that saturates sweetly when pushed. They have been known to bring engineers to tears when they hear how gorgeous their mixes sound through them! Warm Audio turned to Carnhill Transformers of Cambridgeshire, UK, to design meticulous replicas of these most desirable early 1073 transformers. The results are stunning, and — to our ears — tantalizingly close to early vintage 1073sWarm left no stone unturnedA vital yet not-often-discussed component of these classic British circuits is the different types of capacitors and output transistors used. To maintain the integrity of the original circuits, Warm decided to use high-quality tantalum and polystyrene capacitors in the signal path and an output transistor choice that delivers smoother results at higher gain settings than what is commonly found in today's 1073-style preamps. All considered, Warm Audio's monumental effort to design a no-compromise product has paid off handsomely. You'll appreciate this every time you plug into the WA273 and hit record.Warm Audio WA273 2-channel Mic/Line/Instrument Preamp Features:Handwired, hand-assembled 1073-style preamplifiersFully discrete, Class A, transformer-balanced circuitryUK-made Carnhill Transformers80dB of gain handles any type of microphone, including low-output ribbonsResistor-stepped rotary gain switches for easy recallTone buttons change input transformer impedance for mic optimization and tonal shapingPolarity switches48V phantom power4-position inductor-based highpass filters, selectable for Off, 50, 80, 160, or 300HzXLR mic inputsLine-level TRS inputsTS Send/Receive insert jacksXLR and TRS line-level outputsDI instrument inputsOutput level controlsLED level indication metersRugged 19" rackmount chassisGround lift switchInternal IEC 115V/230V power inlet

A lot of preamps on the market do a good job of raising the volume of mics and instruments. Unfortunately, many pres are doing only that, raising volume.  The “Super clean” designs of today often leave the signal exiting the preamp sounding much the same as it did entering it.The WA12 MKII is a completely discrete, high voltage, dual-transformer microphone preamplifier designed for high gain (+71dB), high headroom, low noise, and an exciting sonic performance – great for all types of recording applications.  A high quality mic preamp is one of the most critical pieces needed to achieve the elusive ‘larger than life’ sound, and the WA12 MKII is more than capable of delivering. ​The WA12 MKII is based around a discrete op-amp, the X731, which is our own reproduction of the vintage classic Melcor 1731, considered by some to be the warmer predecessor to the modern 2520-style op-amp.  The X731 can achieve vibrant, clean and lifelike tones; but can also be driven into mild saturation at much higher gain levels.  The effects can be subtle, but very pleasing to the ear.  The WA12 MKII can also accept any discrete op-amp on the market which conforms to the +/-16v, 2520 pinout standard.   In this example, the WA12 MKII is being routed as an insert into a recording device. This is useful for using the WA12 as an “analog plug-in” or insert for mix-down. The recording device is feeding the WA12 with a balanced 1/4” cable via a line output. Then, the recording device is capturing the WA12 MKII via a LINE LEVEL input. Note: It is important to use a line level input on your recording device as opposed to a microphone or instrument level input.If you are looking for a preamp to improve and shape your signal you will most definitely love the WA12 MKII. The WA12 MKII is designed to transform plain instruments and vocals into exciting tone.  If your mixes lack depth, struggle to sound alive, or are just missing that professional touch you’ve always wanted, there is a good chance you will love the WA12 MKII. Specifications: Utilizes premium grade input and output USA CineMag transformers. 71db of Gain, fully discrete signal path. Utilizes a discrete 6-pin socketed 1731 style opamp.  Can be replaced with other 6-pin "2520 foot-print" opamps for varying tone/flavor. TONE button – Switches the input impedance from 600 ohms to 150 ohms.  Changes the tone of both the mic and HI-Z inputs. 2 Meg Ohm True HI-Z input on front panel. Sends instrument signal through entire circuit including both Cinemag Transformers and the discrete opamp. Great for guitars, bass, keyboards and other instruments that have a 1/4″ output jack. Mic level balanced input: XLR. Balanced outputs: XLR and 1/4″/TRS. 48 volt Phantom Power. Output attenuation control (after the CineMag output transformer) allows for driving the preamp and transformers into saturation. LED Meter gain indication. 20db pad. External power plug. ​​

Dual-Channel Microphone Preamplifier with 120V technologyCrescendo duo combines the precise sound that German Rundfunk-Technik is famous for with the innovative SPL 120V technology. The internal operating voltage of 120 volts allows Crescendo microphone preamplifiers to break completely new ground. This results in microphone preamps that sound detail-rich, vivid and equally honest.Crescendo duo lets microphones shine in a whole new light – because they have never been amplified like this before.The UndistortableThanks to the SPL 120V technology, it is almost impossible to overdrive this microphone preamplifier.Crescendo duo is a dual-channel microphone preamplifier with 120V technology. Both channels feature the same range of functions. Besides phantom power (48 V) for condenser microphones, polarity reversal, a high-pass filter and a PAD switch, they provide the possibility to adjust the VU meter to display very high levels – so they leave nothing to be desired. The gain can be adjusted comfortably and precisely via a 12-step switch. With the switchable output control, the output level of the Crescendo duo can be perfectly adapted to following AD converters. Two outputs per channel allow the signal to be sent to two different devices in parallel. In addition to the extensive feature set and the outstanding technical characteristics, Crescendo duo convinces with a sonic authenticity that is second to none.The 120V technologyThe 120V technology is our reference technology. The 120V technology is unique in the world. It operates at a DC voltage of 120 volts. This is four times that of IC-based semiconductor op-amps.Sounds goodWith all SPL devices we develop not only according to plan, but also by ear. Many important components are installed on the circuit boards using Through-hole technology. This way we can ensure that we can use the best sounding components.

Whether you play guitar, bass, keyboards or another stringed instrument, you'll need a direct box that won't diminish your instrument's tone, like the Direct Box Active and Direct Box Passive from Warm Audio.  Built around world-famous CineMag USA Transformer topology and engineering, like no other DI Boxes in the world. Constructed with top-tier discrete components housed in rugged aluminum chassis' that include switches, knobs and connectors that are all designed to withstand heavy abuse on the road or in the studio. Made With USA Custom CineMag Transformers Every aspect of our direct boxes are designed for maximum sonic integrity, from the custom-wound CineMag USA transformer to the rugged metal knob and switches.  You can expect warm, rich tone even after long cable runs, and the extruded aluminum enclosure ensures a long life span.  When you need to convert an instrument-level signal to mic-level, with sonic quality as your top priority, you'll be well-served with the Direct Box Active and Direct Box Passive from Warm Audio. New DI Box Experience Warm Audio DI boxes offer the rare versatility of having an onboard variable pad knob which attenuates your input signal all the way from -3dB to -30dB, which will easily tame any instrument input source. Both of our Direct Boxes offer a Thru-put jack that is jumpered to the input jack. It is a convenience jack allowing you to send your instrument's signal to a second place in addition to the live mixer or recording device. Our Direct Boxes can also take a recorded signal at line level and send it to another line input while simultaneously sending signal out of the XLR mic level output of the Direct Box. Typical Applications For A DI Box Connecting electronic instruments such as guitar, bass, keyboard, or drum machines directly to a PA or recording system. Simply put, a DI box converts the high impedance, unbalanced output signals to low impedance, balanced output signals. By doing so, the instrument signals are now converted to the proper voltage level for the PA or recording system - which greatly reduces and/or eliminates connections which could cause tonal shifts and distortion. Passive Or Active? Direct Box Active is best for instruments with passive pickups, especially acoustic instruments.  The Direct Box Active can also operate in "passive" mode. Direct Box Passive is best for balancing the signal of instruments with active electronics, but still performs extremely well on passive pickups by producing a frequency range that exceeds the bandwidth of most passive DI boxes on the market. Passive Specifications CUSTOM-WOUND CINEMAG USA OUTPUT TRANSFORMER CONVERTS INSTRUMENTS TO MIC-LEVEL SIGNALS WITHOUT SIGNAL DEGRADATION IDEAL SOLUTION FOR PLUGGING YOUR INSTRUMENT DIRECT INTO ANY MIC PRE TOP-QUALITY CLASS A COMPONENTS WITH GOLD-PLATED TRACES ON CIRCUIT BOARD RUGGED ALUMINUM CONSTRUCTION PAD: VARIABLE FROM -3DB TO -30DB BALANCED OUTPUTS: 600 OHMS, MIC LEVEL INPUT IMPEDANCE: 1 MEG OHMS  THD: .01% FROM 20HZ TO 50HZ. LESS THAN .003% FROM 50HZ TO 20KHZ FREQUENCY RESPONSE: 10HZ TO 90KHZ +/- 0.5DB

FetHead Broadcast was developed in conjunction with Dutch Broadcasting and facility service company United4all. it is Based on technology used in our product FetHead. General layout consists of a high quality jfet gain stage, followed by a low impedance output buffer to enable output drive to long cables (up to 3kM).FetHead Broadcast offers 23dB's of low noise, high quality amplification which can be applied to either dynamic or condenser microphones as phantom power is transferred to the microphone.During live performances micophone signals often travel through long cables. If they travel adjacent to power lines or dimmed light cables, audible signal interference into the microphone cable often occurs usually resulting in a polluted signal. The FetHead Broadcast prevents this from happening by amplifying the signal before the cable. It improves the signal to noise ratio and offers a high quality signal to the mixer. Another advantage is that the FetHead Broadcast does not need main supplies or batteries.

Microphone PreamplifierXLR 3-pin female to XLR 3-pin maleExtremely low-noise hybrid JFet germanium amplifier9 dB gain (@ 3 KOhm load)Frequency: 40 - 100,000 Hz48 V phantom power requiredFor dynamic and ribbon microphones**Note: Does not allow phantom power to pass through to the microphone**Protects the microphoneSome older ribbon microphones do not tolerate phantom power. Fethead uses phantom power to power its circuitry, but doesn’t pass phantom power to the microphone, so rest assured your ribbon mics are safe.

A piezo transducer typically has an impedance of several Mega Ohms, which is much higher compared to the high-Z input of instrument preamps or mixing consoles. This prevents the transducer to deliver its potential output signal to the preamp and restricts transient response. Additionally, the high impedance combined with the capacity of the cable to the preamp forms a low pass filter, making a piezo transducer often sound uninspiring. BigAmp Piezo is a BigAmp version specially designed to overcome above issues. It has a 7.5 Mega Ohms input Impedance, which enables the piezo transducer to deliver its full potential. Signal amplification is low (3dB) to allow for the highest possible headroom. Because of its small size BigAmp piezo can be connected as close to the transducer as possible which keeps cable capacitance to a minimum.

BigAmp is a small sized, high quality jfet instrument preamp which performs equally well on stage as it does in a studio environment. It has a 1/4" female trs input which accepts signals ranging from the pickup of an electric bass or (acoustic) guitar to the line level output of a synthesizer. BigAmp's low noise class A amplifier provides high end amplification and converts the instrument output signal from unbalanced to balancedThe BigAmp boasts a comparatively compact construction, and its 1/4" female TRS input works equally well for unbalanced pickups as it does for line-level synthesizers. It facilitates both 24 and 48V phantom power, and converts unbalanced signal to balanced audio.

FetHead Filter is a Fethead version with a built-in 6dB/octave high pass filter with a corner frequency of 220Hz (other cutoff frequencies available on request). It is specially designed for microphones which exhibit an excessive proximity effect / low frequency response, like long motor ribbon microphones. The components which make up the filter are not directly in the signal path but are applied to the components which set the gain of FetHead Filters amplifier, thus making it frequency dependant. This way the sonic character which makes a FetHead attractive to the ear is preserved. Some ribbon microphones do not tolerate phantom power, FetHead Filter's circuit uses Phantom power, it shields it from the microphone and offers effective protection.

FetHead is a low-noise, high quality, in-line microphone preamplifier. It provides improved sound for Ribbon and Dynamic microphones. The electronics are housed in a robust metal chassis with a balanced 3-pole female XLR input and a balanced 3-pole male XLR output, rugged enough for use at home, in the studio or on tour.In short, we noticed an improvement on all tested microphones. A Shure SM57 for instance, sounds more responsive over a broader frequency range. When mated with a high-end dynamic microphone like a Sennheiser MD441, or Shure SM7 FetHead really shines. Ribbon microphones benefit greatly too because of a much better impedance match, which lessens the load on the microphone, giving it better transient response characteristics. FetHeads high quality, low noise signal amplification also extends the usable range of a ribbon microphone, making it more suitable for recording softer passages.

Phantom blocker blocks Phantom power while leaving the audio signal intact. Phantom power can be applied to either the male or the female side of Phantom Blocker's XLR connector and will not reach the opposing xlr connector, the audio signal travels without restriction in both directions.Some (older) preamps are sensitive for Phantom power at the input. The preamp's input transformer cannot handle Phantom power from another source. The transformer's thin silk isolations can burn out because a burst of Phantom power switching on creates a high voltage in the input transformer ,to prevent this a complete blocking is needed.

Put Unison preamps on stage or in your studio with Dante.Expand any Dante® network with remote-controlled mic/line preamps using Power over Ethernet (PoE)Combine with Apollo x16D interface to get the authentic Unison™ mic preamp sounds of API, Avalon, Manley, Neve, SSL, and moreLink multiple Apollo e1x units with included coupling bracket and integrated mic-stand mountPair with Apollo e2m stereo headphone amplifier/line interface and Apollo x16D for a complete I/O solutionAdd the Iconic Sound of Preamps from Neve, API, and MoreApollo e1x lets you add remote-controllable Unison mic/line preamps to your Apollo x16D interface, putting legendary preamp sounds from API, Neve, Manley, SSL, and more on stage, at front-of-house, or in your multi-room studio using Dante networked audio.Use with Any Dante Audio NetworkApollo e1x can be used as a remote-controllable mic/line preamp over any Dante network without an Apollo x16D interface, ideal for expanding your inputs — from additional stage rack connections to front-of-house measurement mics to a tamper-proof lectern preamp — no matter what Dante-enabled device you use.Link Multiple Apollo e1x PreampsNeed more mic pres? No problem. Use the included coupling bracket and threaded mic stand mount to connect multiple Apollo e1x preamps securely, giving you a clean, organized setup anywhere.Pair with Apollo x16D and e2m Personal MonitoringUnlock a complete I/O solution for your Dante network by pairing with Apollo e2m personal monitoring and Apollo x16D audio interfaces. This system gives you UAD realtime low-latency audio processing with personal cue monitoring and the iconic tone of classic mic preamps.

Show SPA-12, professional mixer pre-amplifier with 6 Mono channels, combo inputs and Line/Mic selector. Ideal for gigs,recording and fixed PA installations.

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

Eight-channel mic preamp with discrete transistors, analog gain, 48V phantom power, PAD, phase inversion, high-pass filter, ADAT optional, 192kHz, robust and sleek designThe SPL P8 is a high-end, eight-channel microphone preamplifier designed to offer pristine audio quality for multi-channel recording. Each of the eight preamps is built with discrete technology, ensuring a signal path free from integrated circuits (ICs). This design, utilizing individual transistors, is tailored for audiophiles and professionals who prioritize sound purity, contributing to the unit's open and transparent sonic characteristics. The preamplifiers provide a flexible gain range from +8 dB to +62 dB, making the P8 suitable for a wide range of microphones, including those requiring higher gain.Key features include individual controls for each preamp, such as a 48V phantom power switch for condenser microphones, a 20 dB PAD for handling loud sources, a high-pass filter to eliminate subsonic noise, and a phase inversion function. For digital workflows, the P8 can be equipped with an optional eight-channel ADAT converter, allowing seamless connection to digital audio interfaces. This versatility makes the P8 ideal for both analog and digital recording environments, delivering unparalleled audio performance while maintaining ease of integration into various studio setups.FeaturesEight Preamplifiers: Equipped with eight discrete microphone preamps for high-end sound quality.Gain Control: Adjustable gain from +8 dB to +62 dB for handling various microphone types.Phantom Power: Each channel has switchable 48V phantom power for condenser microphones.Signal Processing: Includes PAD switch (20 dB reduction), high-pass filter, and phase reverse for each preamp.Analog & Digital Outputs: Offers both analog outputs and an optional ADAT digital output for direct digital connectivity.Durable Build: Features a robust aluminum and steel construction for long-lasting use.

SPL Pre One OverviewEnjoy the open and transparent sound of the SPL Channel One Mk3 in a compact, dual-channel preamp with the Pre One, a desktop unit with two discrete preamps. With a wide gain range of 8 to 62 dB and optional Hi-Z instrument input, you can draw out the full glory of nearly any input source, from condenser mics to passive instruments.Each preamp features an independent 6 dB per octave high-pass filter for subsonic rumbles, switchable 48V phantom power, and a 180° polarity reversal switch. Each preamp features a selector, so you can choose Flair or Contour, analog EQ presets, and on the rear panel, you have a channel-selectable -20 dB input pad for overly hot signals. Each preamp features a balanced XLR 3-pin mic input and its own dedicated 1/4" TRS balanced output. Preamp 2 also includes a 1/4" TS instrument input (which automatically deactivates the mic input on preamp 2). This design allows the Pre One to process stereo signals if desired. Like all SPL products, the Pre One is manufactured in Germany.Gain ControlThe gain control can be used to adjust the preamplification. The control range ranges between +8 and +62 dB, so even truly demanding microphones can unfold their full potential. Each preamp gets its own large gain control knob. A green signal LED is provided for both preamps to indicate that a signal is present.Switchable FunctionsA high-pass filter with 6 dB per octave is available in both preamp sections and reduces subsonic noise below 80 Hz when activated. This low-cut filter can be used for the microphone inputs as well as for the instrument input on the second amplifier.Both preamplifiers have a 48V switch. This switch activates the required phantom power of 48 volts for the use of condenser and active dynamic microphones. The phase reverse function reverses the polarity of the signal. After pressing the switch, the phase is reversed by 180°.Perfect Sound with Flair and ContourFor each of the two preamps, Flair and Contour provide an analog EQ preset to perfect the sound. When Flair is activated, it gives the signal a beautiful range of high frequencies; silky highs is the key word here. When Contour is activated, the signal perfectly blends into a compact mix while retaining its natural presence and strength.Input PadThe pad switches for each preamp section are located as DIP switches on the rear of the Pre One. These switches attenuate the signal of the microphone input by 20 dB, so that even very high levels can be processed with the Pre One. This is the case, for example, with loud percussion or brass recordings.Power SupplyGood sound always starts with the power supply. This is where you lay the foundation for the performance of the entire device. Although SPL supplies a 12V plug-in power supply unit, the secondary power supply inside generates a voltage level of +/-17V for the analog audio sections with which professional levels of up to 22.5 dB can be achieved. Elaborate low-drop operating-voltage regulation provides more juice and regulates cleanly even when the maximum operation voltage is reached.In the BoxSPL Pre One Dual-Channel Microphone Preamplifier (Black)12V Power SupplyLimited 2-Year Manufacturer WarrantyKey FeaturesFor Studios and AudiophilesTwo Discrete, Transparent PreampsMic and Hi-Z Input on Preamp 2Dual 8 to 62 dB Gain Controls6 dB per Octave HPF per Channel48V Phantom Power and Phase ReversalSwitchable Flair and Contour EQ Presets-20 dB Pad per Mic InputSeparate 1/4" TRS Line Out per PreampMade in Germany

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

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

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

The TK Audio DP3 is a versatile, hybrid-design stereo mic preamp that includes vintage and modern circuits to deliver a broad range of creative tonal options. With the DP3, you’ll get the mid-range germanium crunch of the mid 60s; the low-mid punch and thick sound associated with British Class A preamps from the early 70s; and the more modern tones of the 80s and 90s. Get vintage color, modern transparency, or even something in between — all in one rack space.TONS OF TONESWhile the DP3 includes TK’s proven input stage and germanium circuit from the DP2, we’ve also incorporated a new saturation circuit that — together with the vintage Class A stage — gives you a broad palette of character choices. The input stage is designed around a high quality Swedish Lundahl transformer and high gain stage, followed by selectable saturation and germanium circuits for even more color and harmonics. Instead of switching output stages, as was done in previous models, the Class A stage is now inserted in front of the Output level control, letting you drive the transformer harder without overloading your A/D converters while making the output less sensitive to different impedances. The Class A stage uses a heavy, custom-made Carnhill transformer that produces a fat, punchy sound with mid-range character and a warm top end.IDEAL FOR COLORFUL DI RECORDINGThe Hi-Z direct mode function bypasses the input transformer and input stage, and sends the instrument signal directly to the high-pass filter and the selectable saturation and germanium circuits. The dedicated Hi-Z instrument input has a separate activation switch, so you can leave your instrument connected all the time! Direct mode gain is +14 dB, which is perfect for bass recording together with the Class A stage. The sweepable high-pass filter goes from 30 Hz to 400 Hz for precision crafting of the low end.FEATURES:Stereo microphone preamp with vintage and modern circuitsHi-gain input stage with up to 80 dB of gainSelectable vintage Class A stageLundahl and Carnhill transformersSelectable germanium and saturation circuits for more color and harmonicsSweepable high-pass filter, 30-400 Hz, 12 dB/octaveInstrument input with 2 Mohm impedanceOutput level placed after Class A stageHeadroom meter with eight LEDs

The PURE DRIVE QUAD harnesses Solid State Logic's renowned SuperAnalogue PureDrive™ microphone preamp technology, originally featured in the ORIGIN console. This advanced unit introduces a new DRIVE mode, comprehensive connectivity, and state-of-the-art digital conversion, all within a compact 4-channel 2U rackmount format. The ORIGIN recording console, a contemporary-classic from SSL, first introduced the groundbreaking PureDrive™ microphone preamplifier. This innovative preamp maintains the clarity and punch of SSL's previous designs while also offering the flexibility to switch its character to a warm, harmonically rich, and driven tone that varies with gain.

The PURE DRIVE OCTO harnesses Solid State Logic's renowned SuperAnalogue PureDrive™ microphone preamp technology, originally featured in the ORIGIN console. This advanced unit introduces a new DRIVE mode, comprehensive connectivity, and state-of-the-art digital conversion, all within a compact 8-channel 2U rackmount format. The ORIGIN recording console, a contemporary-classic from SSL, first introduced the groundbreaking PureDrive™ microphone preamplifier. This innovative preamp maintains the clarity and punch of SSL's previous designs while also offering the flexibility to switch its character to a warm, harmonically rich, and driven tone that varies with gain.

Both the 3124V and the 3124MV are designed with the professional engineer in mind. Both units give four channels of the highest possible quality mic preamp. However, the 3124MV provides an additional audio mixer with a transformer balanced output, keeping the unit size and price reasonable. Both models are equally at home in the control room, studio, and recording truck or on stage. The 3124MV utilizes the same microphone preamp circuit that is used in all API consoles. It is equipped with the AP2516 input transformer and the proprietary output transformer found in all API mic pres and throughout the API product line. The unit offers Variable Output Level Control, switchable 3:1 output transformer selection, and an internal 48-volt phantom power supply, which is front panel switchable for each channel. Also provided is a front panel -20 dB pad switch that affects both the mic and line in. A 1/4" phone jack is available on the rear panel for each channel as an insert tip-send/ ring-return placed between the mic pre amp output and the mixer input. Like the 3124V, the 3124MV provides up to 65 dB of gain. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can accept input levels as high as +20 dBu, making it perfect for keyboards and other high level devices. The rear output is an XLR connector. Additionally, the 3124MV adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique stereo aux return control acts to balance the left/right signal, yet staying stereo. It can also be used as a mono return.

Μονοφωνικός προενισχυτής μικροφώνων και ηλεκτρικών μουσικών οργάνων. Μοναδικά σχεδιασμένος, συνδυάζει το ζεστό ήχο της λάμπας με τη γρήγορη απόκριση των τρανζίστορ. Η ύπαρξη επιλογέα συνεχόμενης ρύθμισης ανάμεσα σε λάμπα και τρανζίστορ, καθώς και η διπλή ρύθμιση στάθμης (Gain, Output), δίνουν στο 710 Twin-Finity, σχεδόν άπειρους συνδυασμούς ηχοχρωμάτων.

The Royer model R-DB22 dBooster2 features two channels of dBooster ribbon & dynamic micro-phone signal boosting and impedance buffering technology. Each channel also doubles as a high-impedance DI.When used as a signal booster, both channels of the dBooster2 increase the level of passive low-output ribbon and dynamic microphones with a minimum of distortion or coloration. Designed for professional applications, each dBooster2 channel offers two levels of clean gain boost: 12dB or 20dB, selectable by a front panel switch.The dBooster2’s Class A input presents a high source impedance to microphones, minimizing loading (damping) and improving headroom. By utilizing the 12/20dB gain switch, optimum balance between gain and headroom can be achieved for a variety of uses.The dBooster2’s low-impedance output is an increased microphone-level signal that can drive a digital interface directly or a standard microphone preamplifier. It also minimizes signal loss on long cable runs.When used as a DI for unbalanced guitar level sources, the dBooster2 provides either 0dB or 8dB of gain, selectable from the front panel switch. The single ended high-impedance (230K-Ohm) DI input maintains headroom and gain regardless of load, with minimal distortion or coloration.RECOMMENDED APPLICATIONSMiking any low-volume sound source (acoustic instruments, vocals, etc.)Recording direct to a DAW interfaceUse on long cable runs to retain sound qualityDI for direct electric guitar, electric bass, and other instruments

Eight-Channel Microphone Preamplifier with 120V technologyCrescendo 8 combines the precise sound that German Rundfunk-Technik is famous for with the innovative SPL 120V technology. The internal operating voltage of 120 volts allows Crescendo microphone preamplifiers to break completely new ground. This results in microphone preamps that sound detail-rich, vivid and equally honest.Crescendo 8 lets microphones shine in a whole new light – because they have never been amplified like this before.The UndistortableThanks to the SPL 120V technology, it is almost impossible to overdrive this microphone preamplifier.Crescendo 8 is an eight-channel microphone preamplifier with 120V technology. All eight channels feature the same range of functions. Besides phantom power (48 V) for condenser microphones, polarity reversal and a PAD switch, they provide the possibility to adjust the VU meter to display very high levels. The gain can be adjusted comfortably and precisely via a high-quality potentiometer. Two outputs per channel allow the signal to be sent to two different devices in parallel. In addition to the extensive feature set and the outstanding technical characteristics, Crescendo 8 convinces with a sonic authenticity that is second to none.Built-in Output SplitterAll eight microphone preamps have two parallel outputs each. This allows the signal to be sent to two different devices in parallel. One output each is available as XLR line output. The respective second outputs are available as a DB25 jack. These can for example be ideally connected to a multi-channel AD converter, with the for this kind of device type typical DB25 input. An additional external signal splitter for back-up systems during a recording session is therefore no longer necessary.Perfection in detailThe input differential amplifiers are constructed with pairs of transistors, each of which is combined in a housing. Precise matching of the transistors and thermal coupling ensure high common-mode rejection and extremely low THD values. The choice of transistors and resistors has a decisive influence on the sound. In countless listening sessions the optimal components for Crescendo were selected – the effort paid off!More sound through innovationOur 120V SUPRA operational amplifiers work as current amplifiers, which also offer pure class A operation with over 6 mA quiescent current. We largely dispense with coupling capacitors in order to avoid their sonic disadvantages (diffuse, sloping, loss of dynamics). In order to eliminate DC voltage components active servo circuits are used.

This one is bigger and more kitchen sink-y. This starts with a precision rotary switch gain control, which levels up the audio performance, especially in higher gain ranges (ribbon mics welcome). A 2 position high pass filter gives excellent control of problem bass / rumble areas at 75Hz or 150Hz. A 3-band EQ with sweepable mids rounds out the tone shaping. The FX loop can be defeated by a footswitch and has an onboard blend control to run your effects at 100% and adjust wet / dry amount on the preamp. The input is a combi XLR / 1/4″ jack, so it can run as an instrument preamp like its buddy ALiX .We could keep going, but you get the idea: REX and ROXi are wicked mashups of a mic pre, channel strip and stage preamp. Plop one on your your studio desktop and boom, you have an genuine Grace Design recording channel. Tack one to your pedalboard and you have a Swiss Army knife style stompbox with astonishing audio performance and massive flexibility. Do the Swiss actually give those little red knives to their army? Let us know.SingersA singer can plug their favorite microphone into a Grace Design mic preamp with their own effect pedals in the FX loop and control their reverb, old-timey AM radio or distorted vocal effects however they want. Singers with pedal boards? Your time has come.

This is the little nipper, but don’t judge – we piled up everything we know from 30 years of designing mic preamps, zapped it with our shrink ray and crammed it all into a minty-fresh green BIX style chassis.With bonafide Grace Design mic preamp pedigree, it will give any studio rack preamp a run for its money. But REX is really designed to be velcroed to a pedal board and hit the stage. Simple high and low tone controls, a 10dB boost circuit (sorry FOH), a mute switch, and an FX loop will all help you get your sound dialed. Are you a singer with your own vocal mic and wish you could have that extra studio clarity and presence on stage? REX to the REXcue (ugh). You get the idea.Horn PlayersHorn players looking to expand their sonic palette. Flugelhorn into a wha-wha pedal with distortion and delay? All day. Baritone sax through an octave pedal? Dude.

The Chandler Limited TG Channel MKII is a re-creation of several classic circuits and combines a TG2 preamp section with an equalizer that was redesigned from an equalization circuit used in EMI's TG12410 Transfer console - the mastering counterpart to the original "Beatles desks." The Chandler Limited version has been remade using original design information and circuit board drawings as provided by Abbey Road to ensure extreme authenticity. Chandler Limited even remolded the old TG-style pointer knobs. Inject authentic Abbey Road vibe in your recordings with the Chandler Limited TG Channel MKII.Chandler Limited TG Channel MkII at a Glance:Juice your productions with bone fide Abbey Road vibeSo awesome-sounding, your sound is sweetened just by passing through itSounds like a fine musical instrument - not a modern surgical toolJuice your productions with bone fide Abbey Road vibeCapturing the magic of the original equipment found in Abbey Road Studios - the very same used for Beatles' albums, not to mention Pink Floyd's Dark Side of the Moon, Chandler has brought the sound of the most famous studio in the world to engineers the world over.So awesome-sounding, your sound is sweetened just by passing through itThe preamp section of the TG Channel MKII beautifully replicates the sound of the original, and, to many ears, possibly improves the high-end response. The EQ section provides Pultec-style control over the sound, and, like a vintage unit, the sound is sweetened just by passing through it. The recordings done with the original gear are still reference points for both musicians and engineers. Now you can own the same gear!Sounds like a fine musical instrument - not a modern surgical toolThe active portions of the unit use the same discrete amplifiers and transformers as in the TG1 Limiter and TG2 pre amp. The passive equalizer portion of the EQ is an all inductor design and offers sweet high frequencies with large inductor based lows, and a very high "Q" mid cut section. Designed to sound like a fine musical instrument instead of a modern surgical tool, it's sound is very comparable to Pultec and Lang program EQs but made from TG circuits. A simple description would be a TG Pultec with a TG pre amp thrown in. Gear.Chandler Limited TG Channel MkII Features:Mic Pre and DIControls over input and output levels allows running input hot without overloading the recorderFlexible EQ sectionChandler 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 Germanium Preamp/DI is a throwback to a time when gear sounded great. Germanium transistors have been used in audio gear including Neve, EMI, Telefunken, and Fairchild for their unique sonic characteristics. It hasn't been used in current gear for a while now, but that all changes with the Germanium Preamp/DI. What make this preamp unique are the gain circuits. The Gain/Germanium Drive control and Feedback control are intricately linked. Gain acts as a standard gain control, but roll up the amount of Feedback and the Germanium Pre realizes its full potential, as well as adding a small bass boost and a tasty high-frequency roll-off. For cleaner tones keep the Feedback on the restrained side, or crank it up for fat guitars and vocals. There aren't any other preamps like the Chandler Limited Germanium Preamp/DI.Chandler Limited Germanium Preamp/DI at a Glance:Outfit your studio with a unique-sounding preampReap the sonic benefits of germanium transistorsYour sonic obsession: Chandler's missionOutfit your studio with a unique-sounding preampThe Germanium Preamp/DI is a cutting-edge design by Chandler Limited designer Wade Goeke that uses classic germanium transistors in all Class A, transformer balanced, circuits. The use of germanium devices opens a whole new sound palate not found in any pro audio equipment currently manufactured. The results are warm and tube-like, with a fat bottom end. Yes, this is the classic vintage coloration we all gush over, and it's yours for the taking - in the Germanium Preamp/DI.Reap the sonic benefits of germanium transistorsSmooth-sounding germanium transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI ( TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium tranasistor. Chandler Limited's Germanium series runs on +40 volt power, high current, and has a huge +34 output before clipping. The sound is warm and smooth as with many vintage style circuits, but you'll find a whole new world of smooth here as well as a sound that settles in perfectly to your tracks without fighting.Your sonic obsession: Chandler's missionRecording engineers are always looking for fresh tonal colors and approaches when tracking - it's an obsession. Chandler feeds this addiction with their innovative take on the technologies of the past. They start with painstaking component selection. The Germanium Preamp/DI's parts list reads like a 40-year-old document. Seriously - they just don't build 'em this way anymore. Hand-wired and assembled in the USA, the Germanium Preamp/DI utilizes 100% discrete transistor circuitry and specially wound transformers. Aside from the fact that you'll have this puppy forever, the weapons-grade build quality is a means to an end - the sound. Glorious, fat, supremely musical sound. Stock your arsenal with a serious weapon - the Chandler Limited Preamp/DI.Chandler Limited Germanium Preamp/DI Features:I/O: XLRDI - Unbalanced jack with 100k input impedanceGermanium Drive controls the input gain of the Germanium ampPad and Thick SwitchesFeedback Control to adjust the amount of signal fed from the amplifier output back to the input10-segment LED VU meter

The Chandler Limited REDD.47 mic preamp re-creates the original tube line amps used in Abbey Road Studios' rare, custom EMI REDD.51 recording consoles. This is the unmistakably punchy, agressive sound that characterized recordings made in Studio Two between 1964 and 1968 - including legendary tracks by The Beatles. Modern features have been added to meet contemporary recording studio standards, such as increased gain that gives you a range of new tonal options, from pristine cleans to rich, classic saturation. Take it from Sweetwater, with its inimitable sonic moxie, the Chandler Limited REDD.47 will work wonders in your studio.Chandler Limited REDD.47 Mic Preamp at a Glance:The workhorse line amp of the REDD.51Enjoy an expanded range of tonal optionsThe workhorse line amp of the REDD.51A critical component of the EMI REDD.51 console (REDD being an acronym for Abbey Road Studios' in-house Record Engineering Development Department), the REDD.47 line amplifier was used in virtually every stage of the audio path, including the mic and line inputs, the echo sends, and the monitors. With its spunky, in-your-face sonics, the REDD.47 lent its unique character to all the music - including every Beatles track - recorded in Abbey Road Studio Two during its mid-'60s tour of duty.Enjoy an expanded range of tonal optionsChandler Limited's REDD.47 preamp gives you added benefits never offered by the original design, including an increased gain range that greatly expands your tonal options. Imagine being able to dial between immaculate cleans and classic tube saturation with up to 2 percent harmonic distortion before clipping! Think of the gnarly, distorted guitars in The Beatles' "Revolution." They were DI'd straight into the board; all that seething mad-dog bite is the REDD.47. And speaking of direct injection, Chandler Limited has thoughtfully included a DI input on the REDD.47 front panel.Chandler Limited REDD.47 Mic Preamp Features:Delivers the legendary sound of Abbey Road Studios' "holy-grail" preampModern features to meet contemporary recording studio standardsIncreased gain allows tonal options from pristine cleans to classic rich saturationInputs: Mic/Line (Balanced XLR), D/I (1/4")Stepped gain: 6dB increments; fine gain: variable +/-5dB;Total Gain: +57dB; output control: variableRumble filter; 20dB pad; Polarity reverse; +48V Phantom powerTubes: EF86, E88CC (input/output)Transformer balanced I/O (custom wound)Internal power supplyChandler 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 TG2 Abbey Road Special Edition preamp is an spot-on re-creation of the rare EMI TG12428, found in the recording and mastering consoles of EMI (and later Abbey Road) studios in the late '60s and early '70s. The TG2 gives you a pair of top-shelf preamps, built using the original TG12428 schematics provided by Abbey Road and EMI. Get the sound of the preamp used in such recordings as The Beatles' Abbey Road and Pink Floyd's Dark Side of the Moon albums - with Chandler Limited's TG2 Abbey Road Special Edition.Chandler Limited TG2 Abbey Road Special Edition 2-channel Preamp at a Glance:There's history behind this amazing-sounding preYou get warmth and punch - plus an open, airy high endPut this in your rack and brace yourself for some serious toneThere's history behind this amazing-sounding preThe Chandler Limited TG2 Abbey Road Special Edition is a re-creation of the rare EMI TG12428 preamp fitted in EMI/Abbey Road recording and mastering consoles of the late '60s and early '70s. This instantly identifiable sound was used on many legendary Abbey Road recordings, including The Beatles Abbey Road and Pink Floyd Dark Side of the Moon.You get warmth and punch - plus an open, airy high endThe Chandler Limited TG2 Abbey Road Special Edition preamp incorporates the same discrete transformer-balanced amplifiers as the TG Series limiter, giving you a creamy, smooth tone with an open, airy high end. The sound, as described by many users, is imbued with classic Neve warmth and punch - but with a more open top end. The unit does indeed have a small rise in its high frequency response, along with some warmth-inducing distortion which contribute to its unique, punchy sound.Put this in your rack and brace yourself for some serious toneChandler Limited's TG2 Abbey Road Special Edition preamp gives you a pair of top-shelf pres, built using the original EMI TG12428 design notes and circuit board drawings provided by Abbey Road and EMI. With an genealogy like that, this preamp's a no-brainer. When you plug into the Chandler Limited TG2 Abbey Road Special Edition preamp, you plug into the sound behind some of the most memorable recordings in classic rock history. Put the Chandler Limited TG2 Abbey Road Special Edition preamp in your rack and brace yourself for some serious tone.Chandler Limited TG2 Abbey Road Special Edition 2-channel Preamp Features:Topology based closely on the original EMI TG12428 at EMI/Abbey Road studioDiscrete transformer-balanced amplifiers produce a warm tone with clear highs and rich lowsBoth channels have 1 x XLR I/O, plus 1 x TS for high-impedance instrument-level inputInput gain ranges from +5dB to +75dB, in 15 stepsBoth channels have +48V phantom power, a phase reverse, and an impedance switchImpedance switch toggles between 300 ohms and 1200 ohms, to match any micChannel output gain control lets run the input gain hot for extra colorSumming option mixes both preamps using the TG2's discrete circuitry for a minimal signal pathChandler 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 WA-MPX is an authentic reproduction of the vintage tape machine tube preamp that started the birth of rock ‘n’ roll known for pure analog warmth, delivering an impressive 300v of raw power & 90dB of tube gain. During the golden era of tape recording, the original 351-style tube preamp became the kings of studio tech and signature sound in the signal chain of hit recordings for artists including Elvis Presley, Bing Crosby, Les Paul, Nat King Cole, and Roy Orbison and producers like Steve Albini- a timeless sound that continues to be pursued by elite audio engineers today. With premium components, true-to-original circuit design, and selectable tape saturation, the WA-MPX authentically reproduces all the analog tone of the original to bring vintage warmth & color to your sound.

High-quality Mic Pre with FX LoopA stompbox-size audio toolkit for on-stage, in the studio, and everywhere in between. Includes a quiet high gain mic-pre, 48V phantom power, and enough I/O and control for applications such as FX Loop for microphone signal processing (vocals, horns, strings, etc), signal splitting, and combining, complete re-amp setup, impedance, and gain matching, mixing and more.

The Chandler PSU-1 is designed to run any two Chandler units except the Mini Rack Mixer.