Signal Processors

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

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

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

Тhe Antelope Audio A4-1B is a tube optical compressor that combines the warmth of classic tube compression with the precision and flexibility of modern technology. Faithfully recreating the iconic Scandinavian sound, the A4-1B boasts a fully analog circuit for the audio signal, built with the highest quality components to ensure precise and transparent compression. Its advanced features, including DAW integration for remote control and automation, and filtering for targeted compression, provide a seamless experience for audio professionals seeking both authenticity and innovation.All-analog design preserving the true sound of classic opto-valve compressionCustom transformers & hi-end tubes for tight low-end and high-fidelity audioRemote control, with automation and preset recallProprietary motorized potentiometers ensuring instant remote responseUser-configurable high-pass, band-pass and de-essing filtersAS AUTHENTIC AS IT GETSThe A4-1B captures the essence of legendary compression. A painstakingly accurate signal path, premium tubes, and custom transformers combine for unparalleled authenticity and low-end richness. The precise opto-cell detection system guarantees precise compression characteristics, matching the authentic behavior of the original. Crafted with premium analog components, the A4-1B is not just a compressor—it's a testament to the timeless quality of true analog engineering.CLASSIC SOUND, MODERN ENGINEERINGThe A4-1B combines analog warmth with modern engineering for unparalleled performance. Its efficient power supply ensures stability and reliability with automatic voltage adaptation, while DC heating for the tubes minimizes noise and enhances tonal warmth. Digital control technology streamlines compression adjustments, offering faster and more precise operation. These innovations not only improve the device's efficiency but also enhance the overall user experience, making the A4-1B a perfect blend of classic sound and modern precision for professional audio workflows.BRINGING ANALOG INTO THE DIGITAL AGEThe A4-1B also has access to the optional A4 software suite, allowing for remote control via VST3, AAX, or AU plug-in, or standalone app, offering full integration into your DAW setup. Proprietary motorized knobs allow settings to be applied instantly to the hardware, while the preset system ensures easy recall for consistency across sessions and A/B testing. Attack, Release, Gain, Threshold, and Ratio can be automated directly in the DAW plug-in, just like with any native tool. The extended filter section includes low pass, high pass, and band pass filters for sidechain applications, and the de-es mode with a narrow band pass filter helps clean up vocals and instruments with precision.The A4 software suite is available as an optional add-on, as part of a monthly or annual membership plan. The A4-1B comes with 1 year of Antelope Membership for free, including the full suite of Synergy Core Native plug-ins, as well as all new releases and updates.FEATURES:AUTHENTIC ANALOG SOUND100% purely analog circuit for the audio signalHigh-quality components ensuring superior sonic performanceCustom-designed UK transformers and high-quality tubesPre-sorted opto-cell for optimal compression precisionAll tube-based push-pull amplifierContinuously variable attack and release timeAUTOMATED CALIBRATION SYSTEMSEnsured compression precision over timeModern power supply for tube longevity and reduced hummingConsistent stereo-link performance via calibration systemMultiple reference levels for meteringVU-meter for monitoring input, compression and outputA4 – ANTELOPE AUDIO ANALOG AUTOMATION (OPTIONAL)Remote control via VST3, AAX or AU plug-in, or standalone control appSettings instantly applied on hardware via proprietary motorized knobsComprehensive file preset systemAutomation for attack, release, gain, threshold and ratio via DAW plug-inExtended filtering section with low pass, high pass and band pass filtering for side chain signalDe-esser mode utilizing narrow band pass filter

The WA76-D is a meticulous recreation of the vintage 76 "Revision-D" FET studio compressor, renowned for its lightning-fast attack, low noise, and rich analogue tone. Designed with premium components, including CineMag input and output transformers, the WA76-D faithfully delivers the classic warmth and character that made the original a studio legend. Modern features such as stereo linking, parallel compression, a variable sidechain high-pass filter, and selectable input impedance enhance its versatility, allowing it to integrate seamlessly into contemporary recording setups. Hand-tested in Austin, TX, the WA76-D combines vintage authenticity with modern flexibility, making it the ultimate compressor for vocals, drums, guitars, and more.Classic Studio Compression with Vintage Tone:The WA76-D faithfully recreates the sought-after “Rev D” design of the iconic 76-style compressor, delivering ultra-fast dynamic control with vintage analogue warmth. With its premium FET circuitry and CineMag transformers, it provides the ideal balance of speed, accuracy, and rich harmonic character.Modern Add-Ons for Contemporary Workflows:While retaining its vintage authenticity, the WA76-D introduces practical modern features, including stereo linking, parallel compression, and a variable sidechain high-pass filter. These updates enable precise control for today’s complex recording environments, ensuring flexibility without losing its vintage soul.Built to Professional Standards:The WA76-D features top-tier components, including O-12 and 5002 CineMag transformers, metal film resistors, and a revised low-noise preamp. Each unit is meticulously hand-tested in Austin, TX, ensuring every detail matches the quality and performance expected by audio professionals.Key Features:Premium CineMag Transformers:Faithfully reproduces the original 76-style tone with custom CineMag input and output transformers.Comprehensive Controls:Includes classic attack, release, ratio settings plus modern options like stereo linking, true bypass, and sidechain flexibility.Hand-Tested Precision:Built and hand-tested in Austin, TX, ensuring authentic performance and studio-grade reliability.

The WA76-D2 compressor is a precise recreation of the revered vintage “Revision-D-Style” FET studio compressor, celebrated for its ultra-fast response, low-noise performance, and rich analogue tone. It combines authentic vintage circuitry with modern enhancements for unparalleled flexibility, making it an ideal tool for today’s recording workflows. Featuring hand-tested CineMag transformers and premium components, the WA76-D2 ensures pristine signal integrity and dynamic control, while added features such as parallel compression, active bypass, and a variable sidechain high-pass filter provide ultimate versatility. Whether used on vocals, drums, or guitars, this compressor delivers classic tone and modern adaptability in a robust rackmount chassis.Classic Compression with Modern Features:The WA76-D2 captures the legendary tone and performance of the vintage Revision-D compressors, delivering the fast attack, clean sound, and dynamic control that made them studio staples. Modern features like dry/wet mix, selectable input impedance, and sidechain flexibility make it suitable for today’s workflows.Custom CineMag Transformers for Analogue Warmth:Just like the original Revision-D compressors, the WA76-D2 uses custom CineMag transformers to ensure a rich analogue character. These large-core transformers are built to original specifications, delivering warm tones and impeccable sound quality across all inputs and outputs.Handcrafted Quality from Austin, TX:Every WA76-D2 is hand-tested and inspected in Austin, TX, ensuring premium build quality and reliable performance. This attention to detail guarantees a flawless analogue sound experience, making it a trusted choice for professional studios and home recording setups alike.Key Features:Authentic Vintage Circuitry:Faithful Revision-D design with premium components for fast, clean, and rich compression.Enhanced Control Options:Parallel compression, active bypass, and variable sidechain high-pass filter for modern flexibility.Professional-Grade Build:Hand-tested in the USA with custom CineMag transformers and robust 2U rackmount chassis.

The WA76-D compressor is a precise recreation of the revered vintage “Revision-D-Style” FET studio compressor, celebrated for its ultra-fast response, low-noise performance, and rich analogue tone. It combines authentic vintage circuitry with modern enhancements for unparalleled flexibility, making it an ideal tool for today’s recording workflows. Featuring hand-tested CineMag transformers and premium components, the WA76-D ensures pristine signal integrity and dynamic control, while added features such as parallel compression, active bypass, and a variable sidechain high-pass filter provide ultimate versatility. Whether used on vocals, drums, or guitars, this compressor delivers classic tone and modern adaptability in a robust rackmount chassis.Classic Compression with Modern Features:The WA76-D captures the legendary tone and performance of the vintage Revision-D compressors, delivering the fast attack, clean sound, and dynamic control that made them studio staples. Modern features like dry/wet mix, selectable input impedance, and sidechain flexibility make it suitable for today’s workflowsCustom CineMag Transformers for Analogue Warmth:Just like the original Revision-D compressors, the WA76-D uses custom CineMag transformers to ensure a rich analogue character. These large-core transformers are built to original specifications, delivering warm tones and impeccable sound quality across all inputs and outputs.Handcrafted Quality from Austin, TX:Every WA76-D is hand-tested and inspected in Austin, TX, ensuring premium build quality and reliable performance. This attention to detail guarantees a flawless analogue sound experience, making it a trusted choice for professional studios and home recording setups alike.Key Features:Authentic Vintage Circuitry:Faithful Revision-D design with premium components for fast, clean, and rich compression.Enhanced Control Options:Parallel compression, active bypass, and variable sidechain high-pass filter for modern flexibility.Professional-Grade Build:Hand-tested in the USA with custom CineMag transformers and robust 2U rackmount chassis.

Timeless Compression With A Vintage VoiceThe WA76-A/A2 faithfully recreates one of the fastest and most powerful studio compressors of all time known for ultra-responsive dynamic control with true analog grit, now with additional modern recording features. Known for use on vocals, drums, guitar, bass, and anything in the studio requiring tight dynamics, the vintage “Blue Stripe” 76 compressors are known for their versatility, speed, and harmonic analog tonality added to recordings. Just like the originals, the WA76-A and A2 deliver that classic performance that can be heard on legendary recordings by artists like Led Zeppelin, The Beatles, Chris Stapleton, Chris Lord-Alge and many more.True-to-Spec, Plus Bonus Modern Add-OnsUsing premium and custom components like built-to-vintage-spec O-12 (input) and 5002 (output) transformers from CineMag, WA76-A/A2 achieves authentic “Blue Stripe” compression, known for fast compression while adding more harmonic distortion for unmistakable analog character. Easily the most feature-rich 76-style compressor on the market, WA76-A/A2 has added a dry/wet knob for parallel compression, two versions of active bypass for imparting analog color, and selectable input impedance to work with modern recording interface outputs. The single-channel WA76-A has additional sidechain flexibility allowing either key inputs to be inserted or EQs for de-essing, as well as stereo linking. The stereo model (WA76-A2) has multiple stereo operating modes that transform the compressor from a stereo unit, dual-mono unit, and lead:follow compressor with the A channel controlling the B channel.What you need to knowBuilding off of the lauded fame of vintage Blue Stripe compressors, the WA76-A/A2 includes all the controls of the original plus critical added features that deliver a complete and professional recording experience.Use the mix knob to easily achieve analog parallel compression by dialing the dry signal alongside the compressed (wet) tone. The SC HPF knob engages a variable sidechain high pass filter with a range of 30-300Hz.Quickly switch between a traditional 600Ω impedance ideal for other analog gear to a 10kΩ impedance that better-matches modern audio interface outputs. SINGLE CHANNEL ONLY: WA76-A has two stereo linking jacks to link up to 10 WA76-A compressors for surround/immersive compression. External sidechain inputs and outputs are added to insert key inputs to achieve “ducking” or adding an EQ on the input and output for analog de-essing in real time.WA76-A2 is a dual-channel unit and has three distinct two-channel operating modes. Stereo mode allows for even compression in the sidechain, focusing on the fastest attack or slowest release. A>AB mode allows the left channel to control the attack/release of the right channel. Sidechains in A>AB mode are still linked as in stereo mode. In A|B mode, the WA76-A2 operates as a dual-mono compressor.Key Features:Premium CineMag Transformers:Faithfully reproduces the original 76-style tone with custom CineMag input and output transformers.Comprehensive Controls:Includes classic attack, release, ratio settings plus modern options like stereo linking, true bypass, and sidechain flexibility.Hand-Tested Precision:Built and hand-tested in Austin, TX, ensuring authentic performance and studio-grade reliability.

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

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

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

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

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

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

Get That Authoritative, Professional SoundNow in its third iteration, the ever-popular SPL Track One MK3 Premium channel strip has been extensively updated with upgraded specs and a more intuitive design optimized for the modern recording studio. This version of the Track One MK3 Premium is spec'd with premium Lundahl input and output transformers for that authoritative "big-iron" sound that leaps right out of the speakers. From broadcasting and voiceovers to music recording, podcasts, and live events, Track One MK3 Premium always delivers superior sonics, enhancing vocals and instruments from any source, be it mic, line, or DI. The stellar mic preamp provides plenty of gain for your mics and instruments, and SPL's acclaimed De-Esser is onboard for taming sibilant vocalists. Optimize your dynamics with the compressor/limiter, sweeten your tone with the 3-band EQ, and you've got radio-ready sound from the SPL Track One MK3 Premium channel strip.Your solution for fast, high-quality recordingsWe talk to many musicians at Sweetwater who need to be able to produce professional recordings quickly — guitarists and bassists for hire, engineers making radio spots, the list goes on. The beauty of the SPL Track One MK3 Premium channel strip is that it's amazingly fast to dial in a great sound with virtually any source. The built-in processing is perfect for adding that extra studio polish without having to patch in external processors or bounce audio through plug-ins.Capture better vocals with the built-in De-EsserThe SPL De-Esser is considered an essential tool in countless studios, and it's built right into the SPL Track One MK3 Premium channel strip. It's known for removing harsh sibilance from vocalists in a natural, musical way, serving up transparent results even at extreme settings. One thing you'll find especially useful is the SPL De-Esser's automatic threshold-adjusting function. It basically compensates for a singer's varying distance from the mic, applying de-essing even with the signal is lower so that compressing afterward doesn't bring lower sibilants back up in level.Compressor/Limiter controls dynamics and adds characterThe Track One's compressor/limiter is an extremely easy-to-use one-knob design utilizing time constants (including attack and release) that are automated adaptively to the input signal, allowing for simple set-and-forget operation. Pressing the Limiter button switches the compressor into limiter mode, with the threshold being set by the compression knob. Like the compressor, SPL’s soft limiter is unobtrusive and delivers consistent, highly musical-sounding results. A separate makeup gain knob is provided for maintaining proper gain structure in your signal chain.Combine two for stereo operationFor maximum flexibility in your studio, get two SPL Track One MK3 Premium channel strips and link them for stereo compression. You'll be able to record beautifully wide stereo tracks and get true stereo compression with just one set of controls. Best of all, the EQs will still be independent, so you can fine-tune the stereo image simply by using slightly different EQ settings on each side.SPL Audio: supercharged audio productsFormed in Germany in 1983, SPL Audio has been at the forefront of the pro audio industry since its inception. After developing proprietary 120V Technology in the ’90s, SPL decided to make this groundbreaking invention the heart of all its high-end products, and this incredibly powerful yet transparent sound has earned many devotees at Sweetwater and beyond. Other revelatory inventions SPL has become known for include level-independent envelope processing and using phase cancellation in auto-dynamic de-essers for reducing sibilance. Sweetwater is proud to offer audio professionals SPL’s distinguished lineup of innovative products.

Premium Name-Brand TubesOne of the key elements of the WA-1B’s sonic signature is analog warmth of the makeup gain. Using premium vacuum tubes, the WA-1B adds rich character after the compression stage to deliver a dynamically-One of the key elements of the WA-1B’s sonic signature is the analog warmth of the makeup gain. Using premium vacuum tubes, the WA-1B adds rich character after the compression stage to deliver a dynamically-balanced signal without sacrificing tone. signal without sacrificing tone.Custom Transformer From Lundahl SwedenWe paired the true-to-spec Scandinavian circuit design with two custom large-core transformers from Lundahl in Sweden. Transformer selection plays a critical role in the rich analog tone and signal transfer that help deliver smooth compression with more control.

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.Specifications: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 switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 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.

Limited version with silver panel. The TK-lizer 2 is a Baxandall type of EQ, high and low bands are selectable between shelving or peak, very useful for tuning of your low’s, mid’s and high’s.The TK-lizer 2 also has a built-in M/S function which let you process the mid and side signals separately.You can also affect the stereo width of your music by using the level controls in M/S mode.

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 MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.Specifications: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 switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 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®Eventide’s flagship multi-effects processor, the H9000, continues our unbroken tradition of delivering industry-leading signal processing power to the pro audio community. The culmination of nearly fifty years of R&D, the H9000 comes loaded with over 1600 unique algorithms from recreations of beloved classics to Eventide’s latest and greatest effects. The wealth of included effects will offer users many years of exploration and inspiration.

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

 Xαρακτηριστικά:   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

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

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

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

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

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

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

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

The COMP-3A Jr is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors, diodes 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 preferred 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 Jr is based on classic design elements and it uses an integrated optocoupler to control gain. This gives the COMP-3A Jr a unique 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 vintage products with a similar design favorites of engineers and musicians worldwide.A classic sound and compression style is now available at a very affordable price point with the COMP-3A Jr.Features:Vintage style electronics. No integrated circuits in the main audio signal path.Transformer balanced input and output. Can drive almost any load, balanced or unbalanced. The maximum output level is 25 dBu. – Uses an integrated optocoupler to control gain. The fastest attack time is about 1 ms.Very simple to operate with only two main controls, Gain Makeup andGain Reduction.Three-position TIME switch to select different combinations of Attack- and Release time.Selectable jumpers inside the unit to increase the timing on TIME-switch position B and C.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack 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 1RU quarter rack format. Up to four units can be mounted in our19-inch rack kit, the UNITE MKII.A solid build quality that will last many years of normal use.

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 Years After Its Creation, The Baxandall Eq Gets a Definitive Update. Baxandall equalizer’s topology, introduced to the public by Peter Baxandall in 1952, was a very ingenious way of obtaining high and low shelves with boost and cut option without using expensive rotary switches. This affordable circuit was soon adopted by hi-fi and console manufacturers for its simplicity, where parametric options aren’t needed. Heritage Audio has successfully replaced the Baxandall topology with a functional equivalent — a much more musical one, implemented as a one rack space, master bus/ mastering type unit. The Stereo Asymptotic Equalizer, affectionately known as Symph EQ, takes its name from the shape obtained by its shelf curves; where the boost or cut amplitude grows up until the asymptotic value is reached, keeping the ultra highs and sub lows always controlled. Its sound can only be described as tight, sweet, and natural, and its use of parallel equalizing to obtain the desired response curves makes it to have exceptional low phase deviation and artifacts. Shelving With Surgical, But Musical Precision. A smart circuit layout allows for a maximum boost/cut of 10.5 dB in 0.5 dB steps. The main rotary switch sets 1dB steps whilst the 0.5 button adds half a dB to the main reading. The CUT button turns the boost amount into cut. Six strategically selected frequency choices per band are available (8, 10, 12, 15, 20 and 24 Khz on the high shelf, and 470, 360, 220, 110, 60 and 20 Hz on the low shelf). 2-Pole High And Low Pass Filters In order to keep the sub-low and ultra-high frequency content well under control, further high-pass and low-pass filters have been added on dual concentric rotary switches, at 12dB/octave. 5 frequency choices plus OFF are available on each one (10, 12, 18, 22 and 30 Khz on the low-pass, and 160, 82, 47, 20 and 15 Hz on the high-pass). This Is WhereTheMagic Lives. The Symph EQ would have been an awesome sculpting tool just as it has been described above, but it turns into a monster piece with the following 3 additions: It features the same exclusive Carnhill input transformers made in Oxford found in the Successor. Its outputs are driven by 73-type Class-A output amplifiers, built with the same Carnhill St´Ives output transformers as the rest of the family. Most importantly and, here is where the Symph EQ really shines, it has built in Mid Side (M/S) capabilities. M/S Equalizing  Cannot Be Rivaled. Nothing comes close to M/S equalizing a mix. It allows the user to process the center and the sides independently. The benefits of such processing are hard to believe. You can brighten your mix without making your vocals sound harsh, or even tighten the stereo-image’s bass content without making your bass or kick sound weak! These are just a few examples of the Symph EQ M/S power! The response of the Side high pass filter has been made elliptical as in the vintage disk cutters for precise frequency response. This Is What You Get With The Symph Eq Custom Carnhill Oxford input transformers, and custom Carnhill St Ives output transformers, both exclusively made for Heritage Audio. A high-end, 73-style Class-A output stage. All controls use high-quality rotary switches for 0.5dB precision equalizing. Mid-side processing allows for precise center bass management and high boosting hard panned sources without affecting center ones such as vocals, snare, etc. Side high-pass filter turns into elliptical type when in M/S, as implemented in vintage disk cutters. Stereo and M/S inputs and outputs, all balanced and ground free (unbalanced compatible) on gold plated XLRs.ON, M/S or stereo mode and individual hard BYPASS per channel. Fully manufactured in the EU.

Expressive EQ with Vintage Smoothness! The magic behind the BAX EQ is decades in the making. Inspired by the classic Baxandall shelving curves — renowned by mastering engineers in the 60s and 70s for smooth, musical sloping and a unique sonic signature — the Dangerous Music team went to work creating the modern BAX EQ.This unique stereo equalizer features stepped controls for repeatability and identical stereo operation. When what you want is an expressive equalizer — backed up with audiophile accuracy — you've found it. Treat your mixes to the Dangerous Music BAX EQ.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

To survive and remain competitive, today’s modern studio must be a flexible and agile facility that can immediately adapt to different workflows.  Tracking, mixing and mastering services may all be performed in-house, sharing the same outboard gear.The Dangerous Liaison makes this possible by allowing unprecedented access to your outboard equipment.  Plug in your gear and start creating different patches.  Instantly audition changes and store these custom arrangements as presets to use again, instantly, anytime. True hard-wire bypass relays remove gear entirely from the signal path, including outboard that does not have a built-in bypass.  Mastering grade components switch instantly and silently, allowing for true A/B comparisons without coloration or latency.  Pre- and post-processing monitor outputs make it easy to instantly audition and evaluate options.Unlock the potential of all your outboard on every session, every time, in precise, repeatable combinations.6 Stereo Insert Loops, Assignable to 2 Stereo Busses Flexible and Potent Parallel Processing LoopRoute, Switch, Matrix, Flip & Audition InstantlyRecall any Tracking, Mixing or Mastering ConfigurationSeamlessly Integrates with Dangerous MasterFrequency 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