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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.

1.629 €
36 Instalments 56,24€ / month
Upon Order

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

3.300 €
12 Interest Free Instalments 275,00€ / month
Upon Order

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

6.099 €
36 Instalments 210,56€ / month
Upon Order

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

4.598 €
12 Interest Free Instalments 383,17€ / month
4-10 days

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

3.799 €
36 Instalments 131,15€ / month
Upon Order

The Thermionic Culture Kite is the highly requested all-valve stereo equalizer with ATTITUDE. The Kite carries attitude, EQ and the big fat sound of the Fat Bustard, but without the summing facility. This version is available fully balanced. Features include: All controls are stereo except O/P TRIM and are indented for easy recall;' HPF (High Pass Filter) operates at 20 & 40Hz with a 12dB/octave curve; BASS BOOST and BASS CUT both have 2 selectable operating frequencies,which can be used together for a Mid Cut effect; TOP SHELF is a broad Mid/Top Lift, a little like a Presence control. Also has 2 frequencies. AIR boosts the higher Top and will give an amazing clear yet warm sound, only available with out valve products; ATTITUDE is our own switch that adds those special 2nd harmonics only possible with valves! ; OUTPUT TRIM - Separate controls to adjust finely the 2 channels, also -6dB switches; XLR connectors, "semi floating" inputs and unbalanced outputs are employed; A transformer balanced version is available to order, in Purple.

3.285 €
12 Interest Free Instalments 273,75€ / month
Upon Order

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. Features:3 Baxandall bands with low Q.High and low bands switchable between shelf or peak.High Pass filter with 12 frequencies.All controls stepped for easy recall.M/S circuit.Electronically balanced for a clean path. Specifications:Q: 0,5THD+N @ +4dBu: 0.003%THD+N @ +26dBu: 0.0005%THD @ +4dBu: 0.002%THD @ +26dBu: 0.0005%Frequency response: 20Hz-20kHz: +/-0dBFrequency response: 20Hz-80kHz: -0.2dBMax input level: +26dBuMax output level before clip: +27dBuSignal to noise ratio @ 0dBu: 94dBuDynamic range: 120dB

1.847 €
12 Interest Free Instalments 153,92€ / month
Upon Order

The EQ-73 is a single-channel, vinage-inspired 3-band equalizer with a great, warm sound at an unbeatable price.The class-A circuit used in the EQ-73 is similar to the eq section in the classical 1073 module, without the high pass filter. Additional frequencies have been added and the mid frequency band uses two inductors, the higher value of the second one is used for the two lowest frequencies, 160 Hz and 240 Hz, to achieve a suitable response.The sound character is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.The EQ-73 has stepped frequency controls that offers a wide selection of frequencies from 20 Hz to 24 kHz. The Low and High frequency bands are shelving and the mid frequency band is of the bell type. The control range is +/-15 dB for the two lower bands and +/- 18dB for the high frequency band. There are separate bypass switches for all three bands.The EQ-73 cannot be used as a standalone EQ. It is made to be used together with one of our PRE-73 models that has an Insert jack.Combining a PRE-73 and an EQ-73, and using a UNITE rack kit to mount them together, one will get a 19-inch 1073-style unit at a low cost and with a great sound!

300 ,1 €
12 Interest Free Instalments 25,01€ / month
Upon Order
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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

3.400 €
12 Interest Free Instalments 283,33€ / month
Upon Order

The lineage of the 5500 circuit can be traced back to the original 550 equalizer designed by Saul Walker, the founder of Automated Processes Inc. The 550 was designed as a console equalizer which, due to the architecture of the recording console, uses an unbalanced input. Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited. The 5500 is specifically designed to address these limitations. It has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting, and a range control that expands it versatility to mastering applications. Like all API products, the 5500 contains no integrated circuits in its signal path. The gain comes from two hand-built 2520 operational amplifiers in each channel. The balanced input is handled by a 2510 discrete operational amplifier, which is similar to the 2520, but without the high current output stage. Besides being a key component of the API sound, the 2520 coupled with the API 2503 output transformer is capable of delivering +30dBm before clipping. With this much headroom, it is unlikely that the 5500 can be driven to distortion unless perhaps another API unit is driving the input!      FEATUREClassic 550B Equalizer Design2 Range Switches Individually Alter Gain StepsUseable as a 550B, 550D or 550MPeak/Shelf Switch on HI & Lo bandsTrue Hardwire BypassBalanced IN and OUT on XLRUnbalanced Input on 1/4"EQ In/Out Switch

3.443 €
12 Interest Free Instalments 286,92€ / month
Upon Order

Γραφικό EQ, αρχικά δημιουργήθηκε για χρήση στις API κονσόλες της δεκαετίας του '60 και του '70, η επανέκδοση του API 560 είναι μια μοναδική συσκευή με σκοπό να πραγματοποιήσει καθήκοντα που κανένα άλλο EQ δεν μπορεί.Παράγει τον μοναδικό API  ήχο, εύκολο φιλτράρισμα, και high headroom σε μια μικρή συσκευασία. Εξαιρετικά γρήγορο ρύθμισμα και ξερύθμισμα χρησιμοποιώντας ακριβείς zero detents και δεν υπάρχει όμοιο του 560 που να έχει την ίδια δυνατότητα διαμόρφωσης καμπύλης. Αυτή η "νέα-παλαιά" επανέκδοση του 560 έχει βελτιωμένη ανάλυση στην κρίσιμη περιοχή των ±4 db.Ενσωματώνει την αποκλειστική διάταξη κυκλωμάτων και τα εξαρτήματα του API (όπως του θρυλικού API 2520 op-amp), η επανέκδοση του 560 συνδυάζει επιδέξια το παρελθόν με το παρόν και είναι λειτουργικά σχεδιασμένο.Χαρακτηριστικά:10 bands of API proprietary equalizationFamiliar graphics operation on one octave centers12 dB of boost/cut per band"Proportional Q" narrows filter Q at extremesAdditional resolution within the ±4 regionCenter detent for reliable resetTraditional API fully discrete circuit designSilent bypass buttonRe-issue of the 1969 API 560 EQ

1.095 €
12 Interest Free Instalments 91,25€ / month
Upon Order

What if you could juice your tracks with massive bass, shimmering air, and addictive warmth - without having to shell out a fortune? Well, now you can, with the Warm Audio EQP-WA. A Pultec-style 2U rackmount tube equalizer, the EQP-WA rocks the look and feel of the classic original that graced countless hits. But with its fully discrete circuitry and top-drawer components such as CineMag transformers and premium tubes, it also nails those elusive euphonic sonics that make your recordings come alive. Add luster and brilliance to your music, affordably, with the Warm Audio EQP-WA.the EQP-WA gives you: top-notch performance, in fact, and incredible value. The EQP-WA lets you shape your tracks with an exciting, vibey warmth that makes any vocal or instrument sound, well, gorgeous and sit proud in the mix. We dig the Warm Audio EQP-WA, and - especially considering its gentle price tag - we're confident you will, too!  Specifications:With gain modification for level adjustments of two devicesCineMag input and output transformer - made in the USAPremium 12AX7 and 12AU7 tubesCineMag inductor EQ sectionThe EQ section can be set to bypass while the signal is still running through the tubes and transformers, thus keeping the "warmth" of the tubeTransformer balanced inputs and outputs (XLR and jack)Linear frequency response from 20 – 50,000 HzBoost and cut can be used simultaneously to allow phase effectsLow frequency boost - 20, 30, 60, 100, 200, 400, 800 Hz - 12 dBLow frequency cut - 20, 30, 60, 100, 200, 400, 800 Hz - 18 dBHigh frequency boost - 3, 4, 5, 8, 10, 12, 16 kHz - 18 dBHigh frequency cut - 3, 4, 5, 10, 20 kHz - 14 dB5 more additional frequency points than the EQP-1 A for greater versatilityIntegrated 115 / 230 V IEC power supply 

765 €
12 Interest Free Instalments 63,75€ / month
Upon Order

The Crane Song a valve-based tube EQ for the 500 format. Using a dual triode circuit with a 12AX7 tube, Dave Hill’s latest creation features three bands and filters. Breaking it down, the EQ has 24 dB/oct high pass and low pass filters, each with seven frequencies: the top and bottom band are shelving, each with eight frequencies; and the mid band is peaking with eight frequencies.According to Crane Song, the three bands work by using buffered RC circuits in the negative feedback path around the tube amplifiers. The result: a fat sounding EQ rich in second harmonic triode tube color. Crane Song Insigna is 3-band valve EQ for the 500-series format with high and low cut filters.Crane Song Insigna features at its core, a dual triode circuit with a 12AX7 tube. All the three bands offer a selection of eight centre frequencies with both the Low and high band being shelving bands. Buffered RC circuits are used in the negative feedback path around the valve amplifiers for an impressively fat sound rich in second harmonic.The High-Pass and Low-Pass filters use steep 24dB/oct filters and offer a choice of 7 frequencies each.Specifications:1-slot 3-band EQ for 500-series formatHigh and Low shelving bandsPeak Mid band24dB/oct high pass and low pass filtersFat sounding and rich valve sound

1.499 €
36 Instalments 51,75€ / month
Upon Order

IBIS is an analog equalizer that boldly takes equalization to a new level of musicality. Each of its four bands features switch-selectable frequencies centered on and covering musical-step intervals from 32-Hz "C" to 22.35-kHz "F." Its four overlapping bands are labeled with note names and frequency allowing for the first time a "translation" between musician-speak and engineer-jargon. The bandwidth control has similar notation with adjustment from 0.2 octave to 4 octaves per band and a boost / cut range of 12 dB.The low-cut filter is switch selectable from 20-Hz to 150-Hz with slopes of either 12-dB or 24-dB per octave. Like most Crane Song products, IBIS utilizes discrete class-A circuitry and features a truly unique and adjustable "color" function that can be applied to either the entire audio path or to any individual frequency band. A fully stepped mastering version is also available.

4.695 €
36 Instalments 162,09€ / month
Upon Order

The FBQ1000 Feedback Destroyer is the fastest feedback suppressor on the market, with a response time of less than 0.2 seconds. Whether you use it to kill feedback dead in its tracks for your mains and/or monitors, or as a sophisticated parametric equalizer to fine-tune the acoustics of your next gig, the FBQ1000 will bring a new level of finesse to your sound. And if you use in-ear-monitors, the FBQ1000 is a must-have to protect your most valuable assets—your ears! Using an ultra-fast feedback detection algorithm, the FBQ1000 automatically and “intelligently” locates up to 12 feedback frequencies per channel. The algorithm then sets extremely narrow notch filters (up to 1/60th of an octave) to “destroy” feedback frequencies, leaving the remainder of your signal virtually untouched. And with the “Set-and-Forget” default setting, your Feedback Destroyer can be up and running in a matter of seconds. The Auto Mode continuously monitors the mix, resetting programmed filters automatically to eliminate the slightest hint of feedback, without you having to do anything at all. It just doesn’t get much easier than that! If you prefer a more “hands-on” approach, the Manual Mode allows you to program up to 24 fully parametric filters (with frequency, bandwidth and gain controls) to optimize your sound to the room’s acoustics. The FBQ1000 is the quick and easy way to protect yourself and your audience from live sound’s #1 enemy—feedback! Plus it’s rack-mountable and ultra-affordable. With the FBQ1000's various modes, you can master virtually any live sound situation or use the unit as a creative sound-shaping tool. A single FBQ1000 can protect you from feedback in both your mono PA mains and a monitor mix.

166 €
36 Instalments 5,73€ / month
Upon Order

The CharterOak PEQ-1 is an active equalizer that employs the very best operational amplifiers, capacitors, resistors, input transformers, and output transformers that are available today. The design of the PEQ-1 is very intuitive, as the carefully chosen switchable center frequency points and overlapping bands are perfectly suited for music production. The equalizer is extremely clean and free of distortion, which allows for large amounts of boost in the upper frequencies without any harshness. The equalizer also boasts extremely tight and focused bass response and perfect stereo imaging all of which make it an excellent choice across the mix buss or in a mastering environment.

2.220 €
36 Instalments 76,64€ / month
Upon Order

Vintage Tube Amplifiers and Custom-Designed Transformers set the soundstage. True Passive Equalization creates Bountiful and Musical Equalization curves. The new RETRO 2A3 is designed as an ultra High-Fidelity Program Equalizer whose sonic benefits go beyond the equalization process. Accurate to the industry-standard Pultec EQ performance, the RETRO 2A3 adds HF boost frequencies in several new sweet spots. Carefully implemented HF boost circuits capture the signature sound of the original passive equalizers. Use these settings to make individual tracks fit in place. Make a vocal shine and add distinct presence. There are many satisfying applications, most notably the stereo mix buss. A new Subsonic Filter allows you to do peaking low frequency boosts that tame the excessive subsonic energy exhibited in the original design if thatΆs what you want. Utilizing the interstage transformer, the filter not only reduces the subsonic energy but also provides distinct transformer tonal characteristics for tracking and mixing. The filter has settings of 40 and 90 Hz with a peaking response and sharp cutoff. The 40 Hz setting has no apparent loss of lows as it adds excitement to the 35-40 Hz region that is golden in many listening environments. The smoothing effect is pleasantly apparent throughout the midrange. It is easily switched-out for applications that require tight, accurate low frequency response. In consideration of the limited real estate in your rack, the RETRO 2A3 packs two EQ channels into one 2U space with surprising freedom of movement, ease of adjustment and familiarity. Use the two channels for stereo, separately on independent tracks or cascaded for extended equalization possibilities. The channel separation exceeds 70 dB. The RETRO 2A3 passive equalizer circuits do not rely on amplifier feedback, which can cause a harsh and clinical sound in typical active equalizer designs. By incorporating pure passive Capacitor - Inductor based equalization; the RETRO 2A3 sounds so natural and effortless even with extreme boosts and cuts. We also gave special attention to the Pultec-style bass boost/bass cut method that is essential to a powerful bass and kick drum EQ. This involves simultaneous low frequency boosts and lower-mid cuts that can scoop out the mud and add real punch. Quite simply, there are benefits to having the RETRO 2A3 in line without even equalizing, as the tube amplification has itΆs own unique musicality. The RETRO 2A3 Dual Channel Tube Program Equalizer provides a very useful palette of colors and textures ready for tracking, mixing and mastering. Industry-standard Passive EQ with authentic feel, controls and equalization curves Additional HF Boost Frequencies for more precise control Easily recallable 100-position knob scales on boost and cut controls A ganged interstage-coupled Subsonic High-Pass Filter provides Peaking LF Boosts with alternate tonal characteristics Transformer Balanced and fully-floating 600 Ohm Input and Output to eliminate ground-induced hum and noise LF Boost Settings of 20, 30, 60 and 100 Hz Complementary LF Cut settings of 20, 30, 60 and 100 Hz HF Boost Settings of 1.5 kHz, 3 kHz, 4 kHz, 5 kHz, 6 kHz, 8 kHz, 10 kHz, 12 kHz, 14 kHz and 16 kHz Complementary HF Cut Settings of 5 kHz, 10 kHz and 20 kHz Vintage Class AB tube amplification for unity-gain make-up Equalization Bypass Switches Size 2U Height: 19" wide x 3.5" tall x 9" deep XLR input and output connections IEC power connector 115/230V 50-60 Hz Switchable AC Mains Uses readily available 12AX7(2) and 12AU7(2) electron tubes Tube substitutions are possible with internal unity gain calibration and jumper selectable 6 or 12 volt tube configuration Design minimizes tube heat generation High stability components used throughout Steel Chassis built to last Manufactured in the USA Full factory support Specifications Signal to noise ratio of greater than 76dB Channel Separation greater than 70 dB Frequency response is flat within 1 dB from 20 Hz-20,000 Hz Harmonic Distortion is less than 1% from 20 Hz-20,000 Hz

3.950 €
36 Instalments 136,37€ / month
Upon Order

The JDK Audio R22 dual channel compressor features two channels of API's patented award winning compressor circuit in a rack mount unit with internal power supply. This is the same compressor circuit originally designed into all ATI Paragon mixing consoles. Each channel includes the patented 'THRUST' switch to protect the sensitive high frequency content of the audio signal even under the most vigorous of compression ratios. The perfect companion to your R20 mic-preamp and R24 EQ, the R22 compressor provides comprehensive easy-to-use control of the audio signal with custom VU metering of both output and gain reduction. The two channels can even be linked for use as a stereo compressor with true RMS power summing of the left and right signals. Features: Patented THRUST circuit Variable Threshold, Ratio, and Make-up Gain controls Switchable metering of output level and gain reduction Above threshold LED indication Switchable Hard or Soft Knee compression Linkable for stereo operation with true RMS power summing Fully balanced XLR and 1/4" inputs and outputs

1.399 €
36 Instalments 48,30€ / month
Upon Order

The DEQ2496 is a highprecision digital 24-bit/ 96 kHz EQ/RTA mastering processor, ideal for sophisticated live sound trouble-shooting or audiophile mastering. Whether you’re putting the finishing touches on recorded material or creating an optimal live sound for a multi-way PA, the DEQ2496 is built to provide meticulous control.Equalization? Dynamics? Feedback correction? Yes, yes, yes. You can have it all with the DEQ2496. Automatic FFT analysis with Auto EQ? We added that too.The DEQ2496 is a whole rack of flexible equalization, dynamics and time correction functions designed to fix problems and generally optimize sound quality. * Dual 31-band Graphic Equalizers (stereo linkable) * Dual 31-band Virtual Paragraphic Equalizers (stereo linkable) * Dual 10-band Parametric EQ’s per stereo side * Dynamically-activated EQ * Feedback Destroyer with Learning Mode * Stereo Imager * Compressor/Expander * Limiter * Digital Delay * RTA/SPL/FFT Analyzer with Auto EQ functionDual 31-band Graphic Equalizers, 31-band Virtual Paragraphic Equalizers and 10-band Parametric.Naturally the DEQ2496 has phase-neutral digital graphic EQ…but in addition we’ve added a function that allows you to change the bandwidth of each frequency from standard 1/3 to as much as 59/3.Or, if you prefer the old-school approach to variable bandwidth, we’ve included 10-band parametrics that can be fine-tuned in increments down to 1/60 of an octave.Dynamically-activated EQDynamic EQ automatically raises or lowers a defined frequency range based on volume level. It’s literally a combination of an equalizer (with frequency center and bandwidth controls) and a dynamics processor (with ATTACK, RELEASE, THRESHOLD and RATIO parameters).DEQ opens up a world of both creative mastering and PA problem solving possibilities. We’ve given you total control with multiple filter types including bandpass mode. And of course you can store DEQ settings for recall at any time manually or via MIDI.Feedback Destroyer with Learning ModeWith the digital capabilities we’ve just listed, it’s easy to see why we were able to include a highly-effective Feedback Destroyer (FBD) feature — it’s essentially a dynamicallyactivated parametric EQ that “watches” the whole frequency spectrum in 1∕60-octave bands and then instantly identifies and notches out feedback. FBD can be run in AUTO mode to compensate for movements of performers on stage, or in SNGLE mode that locks onto individual frequencies and then varies the amount of attenuation and bandwidth depending on feedback stimulus — more suited to fixed microphone installations.We also included a LEARN mode that generates short audio pulses, raises their gain until feedback occurs and then locks into potential troublecausing band centers.Stereo Imager (WIDTH).While usually considered a mastering technique, the ability to widen the stereo image can be useful in live sound work, too. When you hear it in action, we think you and your audience will be impressed.The DEQ2496 WIDTH processor provides control over STEREOWIDTH (how clearly the two sides of the stereo image are separated from each other), ASYMMETRY (relative volume of left/right stereo signal), ROTATION (panning of stereo + mono in the stereo image), and a multipart SHUFFLE function than can generate an additional low-frequency Stereowidth effect.Compressor/Expander and LimiterThe DEQ2496 has a comprehensive set of dynamics processing tools that can be used as two independent channels or stereo linked.Everything you’d find on a dedicated compressor/ expander is here including variable rations from 1:1.1 to 1:100, ATTACK times from 0 to 200ms, 0-3dB variable knee and 20 to 4000ms RELEASE, all adjustable from a coarse/fine adjustment scale. The built-in separate LIMITER has Threshold, Hold and Release functions.Digital DelayYou can delay either the DEQ2496’s Main or AUX outputs anywhere from 0 to 300ms and can process left and right channels independently.Not only can you specify time delay in feet or meters but simultaneously compensate for ambient temperature which affects sound speed!RTA/SPL/FFT Analyzer with Auto EQ functionThe DEQ2496 features an FFT real time analyzer for precise graphic display of 61 frequency bands. You can monitor main or digital inputs and outputs, AUX/ digital out or a feed from an RTA microphone and display the results in a multitude of ways including funky retro VU meters. You get all of the usual peak/hold, display rate and scale features you would expect from a professional measurement tool, plus our user-definable AEQ (Auto EQ function), which allows you to analyze and adjust your system’s frequency response automatically (perfect for “roughing out” initial room adjustments).In Graphic EQ mode, you can choose between UNCORRECTED response, which shows the mutual influence of adjacent bands, or select TRUE response to apply a specially developed algorithm that displays the actual results of the equalizer setting.Easy to set up and use.The DEQ2496 has balanced inputs and servo balanced outputs with gold-plated XLR connectors, stereo aux output, AES/EBU and S/ PDIF inputs and XLR and optical output. Configuration is intuitive, with on-screen block diagram displays and you get a separate RTA mic/line input with phantom power, a professional wordclock input and MIDI connections for full remote control, as well as preset dumps and system updates.You can maintain up to 64 comprehensive user presets at a time and of course dump and load as needed. You can also save and recall individual modules such as DEQ, PEQ, WIDTH or DYN. These subsets of complete presets let you maintain most of a preset’s settings but vary a few (such as graphic EQ) without having to generate a whole new preset.Built tough for the road, precise for the studio.The DEQ2496 features high-quality 24-bit/96 kHz A/D and D/A converters and two high-performance 32/40-bit floating-point digital signal processors for incredible sonic resolution and 113 dB dynamic range. The internal switch-mode power supply assures maximum flexibility (100-240V~), noise-free audio, superior transient response, lowest possible power consumption and freedom from power surge damage.

371 €
36 Instalments 12,81€ / month
Upon Order

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

4.598 €
12 Interest Free Instalments 383,17€ / month
Upon Order

The Arsenal Audio by API V14 is an extremely high quality single channel 4-Band Equalizer designed for the popular API VPR500 Rack format.The EQ features continuously variable adjustment of frequency and gain on dual concentric pots, with an eq in/out switch.Arsenal Audio by API's V14 offers a single channel of professional signal equalization in the popular 500 VPR format. Modeled after the circuitry of classic high end EQ's, the V14 delivers an affordable combination of rugged construction and solid performance. The V14 also features EQ in and out switch, plus dual concentric knobs which provide continuously variable control of boost/cut and frequency selection.Features: 4 bands of equalization modeled after the classic APSI model 562 EQ Each band offers continuously variable control of frequency and gain 12 dB of boost/cut per band All 4 bands are peak/dipping parametric configuration Custom transformer balanced output High headroom +24 dB clip level Designed to fit API's 500 VPR Rack or Lunchbox®

699 €
36 Instalments 24,13€ / month
Upon Order

The Arsenal Audio by API R24 Dual Channel, 4-band equalizer, features two identical channels of equalization in a rack mounted unit with internal power supply. The eq features continuously variable adjustment of frequency and gain using individual controls.The EQ-R24 offers two channels of professional signal equalization. Modeled after the circuitry of classic high end EQ's, the R24 delivers an affordable combination of rugged construction and solid performance. EQ in and out are controlled by classic toggle switches, with gain and frequency selection accessed using individual control knobs.Features:4 bands of equalization modeled after the classic APSI model 562 EQEach band offers continuously variable control of frequency and gain, using separate knobs12 dB of boost/cut per bandAll 4 bands are peak/dipping parametric configurationCustom transformer balanced outputFully balanced 1/4" and XLR input and outputHigh headroom +24 dB clip level

1.370 €
36 Instalments 47,30€ / month
Upon Order

The EL-Q Lil FrEQ. Instead of daisy chaining EQ's and frequency processors, we tried to cram most of what an Engineer needs into one single-height box, while offering the highest performance of any design we know of.The EQ Sections HP – The High Pass section is a sharp filter that cuts all content below one of eight pre-selected frequencies. We call this particular filter a “colored” filter since it is very steep and has a special shape that prevents thinning out frequencies just above the “cutoff” frequency. The corner frequency is indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged. As with all the EQ sections in the Lil FrEQ, there is a dedicated bypass switch. High and Low Shelving – These are very similar to your standard “Tone Controls”, but extremely high performance, providing exceptionally smooth boost and cut on the “bass” and “treble” frequencies. Parametric EQ Sections – There are four sections of fully parametric EQ… possibly the cleanest parametric EQ section ever produced- operating below .0007% THD (Total Harmonic Distortion) at extremely high audio levels. Try finding those specs anywhere else! Dynamic EQ Section – The DS section combines filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants, especially in the absence of other lower frequency content. There are two modes of operation, with threshold control as well as a frequency select control. There are four LEDs that indicate the amount of Gain Reduction: -1.5dB, -8dB, -14dB, -24dB. The DS section provides the highest performance, easiest to use, and most natural De-esser ever built, as well as a one of a kind, soft knee High Frequency Limiter. You will love it!

2.499 €
36 Instalments 86,27€ / month
Upon Order

The Manley MASSIVE PASSIVE is a two channel, four band equalizer, with additional high pass and low pass filters. Passive - refers to the tone shaping part of the EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound. Super- beefy, hugely-high-headroom, Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. Creating natural, organic, acoustic tone can only be done with an equalizer that shapes the signal with natural methods. The Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. Manley knows that recording and mastering equalizers are used by artists for artistic goals and they balanced this design with a little more art than science. The Massive Passive is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but with the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that this EQ allows twice as much EQ with half the colouration. It allows massive HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity.The main features of the Manley MASSIVE PASSIVE include:Perhaps the ultimate studio EQ for tracking instruments, mastering and delivering powerful tonal control with characterAll-Passive tone sculpting circuitryUnique Shelf curves use the "bandwidth" controlOverlapping and Interleaved Frequency choicesEvery band switchable to shelf or bellVacuum tube make-up gain and line driversParallel symmetrical topologyPremium components throughoutHP and LP Filters plus gain trimsEach band can be bypassed or set to boost or cut. This provides twice the control resolution over conventional EQs. It also eliminates the problem of a centre detent not guaranteeing flat responseEach band is capable of 20 dB of boost or cut combined with amazing headroom and freedom from clippingSteep LP and HP filters for maximum effectiveness and achieved passively for minimal coloration. The minimum slope is 18 dB/octave and the 18kHz filter was designed for 60 dB/octaveModular design that allows future upgrades and special functionsTransformer balanced floating outputs for ease of installation and a touch of desirable flavourIns and Outs Balanced XLR and 1/4 inch (accepts unbalanced)Level +4 dBm nominal, internal switches for -10 operationBypass Switch bypasses EQ and tube circuits (not hardwire)44 Frequencies (roughly 1/4 octave spacing)Frequency Range: 22 Hz to 27 kHzEQ Boost/Cut Range : 20 dB boost, 20 dB cutNominal Q range: 1.5 to 3 (uniquely active in shelf modesFrequency Response: +/- 2 dB: 8 Hz to 60 kHzMaximum Output @ 1.5% THD +37 dBv; + 26dBv @ 20 HzTHD and Noise (1kHz @ +4 dBm): 0.06%Noise Floor (referred to + 4dBm): -85 dB (A Weight)Dynamic Range: 120 dBTube Complement: 5751 x 2, 6414 x 4Power Consumption 72 wattsSize (3U): 19 x 5.25 x 10 inchesWeight: Unit 21 lbs. Shipping weight: 27 lbs

5.895 €
36 Interest Free Instalments 163,75€ / month
Upon Order

The Pullet is a passive equaliser originally designed to complement the Earlybird pre-amp. The Pullet will provide a variable Q boost at 11 frequencies of 21 dB and simultaneously a cut at 11 frequencies of 21dB. In addition high top can be boosted or cut with a shelving filter. The Earlybird will provide the gain makeup required after a line level signal has been passed through the pullets passive EQ network. This provides an excellent arrangement due to the fact that the passive EQ of the pullet gives full control over any midrange frequencies whilst the active EQ of the Earlybird can give a smooth sounding control over the bass and top frequencies. The fact is that passive EQ can give a much better result when radically boosting or cutting mid frequencies with a tight Q than active EQ can ever do. Its possible to boost a narrow band of midrange by 21dB with a musical sounding result using the pullets passive network whereas an active EQ may well start to sound harsh and begin to ring. The pullet has lately been re-designed in order to allow it to be used with any preamp available. The preamp will need to give between 38 to 40 dB of gain makeup and it ideally will have an input impedance of 1200 . A range of commercially available preamps have been used during testing of the pullet and all have given excellent results.  The high input impedance (10k) of the Pullet means that it will give optimum performance when placed in a chain after any piece of equipment. The mid boost frequencies are: 800 Hz 3.5 KHz 1.2 KHz 4.4 KHz 1.6 KHz 5 KHz 2 KHz 6.3 KHz 2.5 KHz 8.5 KHz 3 KHz The mid cut frequencies are: 230 Hz 2 KHz 340 Hz 2.8 KHz 500 Hz 4 KHz 700 Hz 6 KHz 1 KHz 8 KHz 1.4 KHz The air control will shelve as a lift from 15 KHz, 12 KHz and 10 KHz. It will cut from 15 KHz, 11 KHz and 6 KHz.

1.495 €
12 Interest Free Instalments 124,58€ / month
Upon Order

This two channel equaliser had been designed to be as much at home in tracking individual instruments or sitting across a stereo mix buss to equalise the final mix. As with other units of ours, such as The Phoenix, all controls are clearly labelled and setting up the eq is quick and easy, so we named it after Britain’s fastest bird in level flight.THE SWIFT utilises influences of 2 classic designs of the “golden days” of all valve recording with improvements to bring the specs up-to-date for today’s pro use, plus added features of our own designs.The main electronics are based around a 1950s EMI desk but with extended top and bass response. It had a BAXANDALL type active eq which we’ve kept and we added a Presence switch to give a broad band lift to mid/hi frequencies. This is based on one invented by Vic Keary in 1963 and used in his own mixing desks.The mid lift controls are based on the Pultec design and are passive. For speedy operation and economy we have chosen just 4 frequencies, with 3 “Q” settings.Special features of ours are Hi Pass Filter, Mid Cut and “Air” (all passive). An interesting (Pultec type) effect can be obtained by setting the High Pass Filter at its last setting which combines a shelving bass cut with a filter at very low frequency, then using plenty of bass lift at either 50 or 100 Hz.All pots are continuously variable. We have chosen not to use indented ones for subtlety and reliability reasons.Gain is on switches, for comparison purposes. BYPASS switch disconnects the electronics so you hear the unadulterated original signal. No metering is provided as it was deemed to be just a distraction. The Swift can output + 20 dBu without noticeable distortion and it’s practically noiseless.Although The Swift is influenced by old designs, our electronic design is a great improvement on the old ones. There are only two valves per channel to keep colouration minimal. We use modern, specially designed, Sowter transformers and valves (tubes) not used before in this type of circuit. They simply sound better and the technical spec is outstanding. In all fairness to the original designers, these valves were probably not then available at the design stage so this gives us a little advantage! SpecificationsAll-valve signal path using NOS and new production valves;Combines features of the best USA and UK equalisers with Thermionic magic;Quick and easy to operate, clearly labelled front panelShelving Bass and Treble lift /cut Controls at 2 frequencies each;Mid Cut and Lift at 4 Frequencies each with Three ‘Q’ combinations;Our own Presence and Air Controls;A Switchable High Pass Filter with a Special last position which used in conjunction with the Bass lift can be a very interesting combination;Adjustable gain in .75 dB steps;Frequency response from below to well above human hearing with miniscule phase shift;Virtually no distortion unless driven beyond DAW capability and practically noiseless;Typical Thermionic Culture warm, natural sound;Equally superb as mix buss eq and for individual instruments/tracks;Lovingly hand-made and tested in Harlow, England.

3.285 €
12 Interest Free Instalments 273,75€ / month
Upon Order

The P9 is a two channel, four bands EQ. 2 bands are high and low shelving, and 2 bands are parametric mids. There are high and low pass filters on each channel. The first major difference with the P9 from other EQs from the outside is that none of the controls are potentiometers (pots), they are all switches. This is a major feature of older equipment, that enables precise control over every parameter, and repeatability of results. Over the years, with things like EQ, pots have replaced switches to save on manufacturing costs, however, for the purist, pots can be very inaccurate and failure prone. On the inside, the P9 features a classic design of EQ using inductors and vintage amplifiers. This design is an adaptation of Barry Porter’s classic that oozes musicality and richness. The amplifiers are pure class A, discrete that in themselves add a quality that is hard to define, yet unmistakable.         FEATURES Wide bandwidth High quality transformer input Uniquely warm glossy sound High capacity output stage No pots -all switches

3.199 €
36 Instalments 110,44€ / month
Upon Order

The EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. The workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.        FEATURES Seven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost/Cut, Frequency and Q/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. One parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. Large, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. A/B compare memory, 128 snapshot bank with two additional banks for back-up. Digital input / output in AES/EBU format on XLR connectors. Dithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. 128 steps for boost/cut, frequency and Q parameters. Variable slope shelving filters. Very high Q (up to 650) for notching out offending frequencies. M/S mode for independent equalization of M and S channels. M/S encoder / decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon Peak meter, over indicators. MIDI control for each parameter. Bypass, overall gain, CH1/2 independent or ganged.

12.050 €
36 Instalments 416,01€ / month
Upon Order

Yes! Manley Mastering Version Massive Passive Stereo Tube EQ WE CAME UP WITH A CLEVER WAY TO PULL THIS OFF...WITHOUT breaking your bank account thanks to these interesting mechanically detented knobs for the GAIN and BANDWIDTH controls! These knobs are of our own design. They are a clever two-part metal design using a ball and spring detent system. They ensure repeatability and a good, positive feel, without the incredible cost and space problems tons of Grayhill switches would have caused.Some notes pertinent to the Mastering Version:The Massive Passive is a passive design and not a "true parametric". A true parametric implies non-interacting controls. In the Massive Passive, the "GAIN" and "BANDWIDTH" controls DO interact (on purpose). We cannot create a "GAIN" switch that is set up for "consistent" 1/2 dB steps. When you change the "BANDWIDTH" the step size must and will change. On the regular version, you get a full 20dB boost or cut only when: the bandwidth is fully clockwise (narrow) in bell mode or fully counter-clockwise in shelf mode. Here on the Mastering Version, this maximum boost or cut is 11dB. Conversely at the widest bell, the maximum boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A similar situation is also true for the bandwidth detents. So in this new Mastering Version, do not expect a certain dB change per step as it will vary according to where the bandwidth is set. But whatever the step sizes are, they will be repeatably 16 steps. The FREQUENCY select is already detented as it is and always has been a Grayhill switch. It also interacts in shelf mode.On a similar note, the Massive Passive is a "parallel design" and not the conventional "series design". This means the bands interact with each other too. It is possible, to set a band to boost 20 dB but if another band is boosting near or at that frequency, very little will happen. On a conventional EQ the two bands "add" and you would be boosting 40 dB into clipping. Because the bands interact, predictable step sizes are unrealistic, however, with the Mastering Version, you will be able to repeat settings (if you log them of course). The price paid for interacting bands, is a better sounding EQ and bizarre looking settings (on purpose).Unlike virtually every other EQ, the Massive Passive allows much more EQ without sounding "processed". Where 5 or 6 dB is about all one could attempt with other EQs in mastering, the Massivo amazes engineers with how much EQ they can do and get more "natural" results at the same time. We could have squeezed 11 position Grayhill switches in the modules if we had wanted 1/2 dB steps but then the maximum range would have become only 5.5 dB. Remembering what we stated above, the minimum range would then become about 1.5 dB with approximately 0.2 dB steps. This approach would have essentially thrown away most of the useful range the unit is capable of. Going with these special mechanically detented knobs which use the same pots underneath that the normal Massivo uses, we get nearly all the range of the normal version, but with the repeatability of the detents.We have also custom tailored the FILTERS in the Mastering Version specifically for Mastering purposes, moving them lower and higher than the normal version, with mastering engineers specifically in mind. If you are looking for drastic effects (like telephone sounds) then get the normal version. These filters are really geared for mastering engineers.Additionally, the Master Gain Trim controls in the Mastering Version are true 11 position 1/2 dB stepped Grayhill switches set up for a range between -2.5 to +2.5 dB of master gain trim. This allows more confidence in left/right matching and calibration.The best advice is, before you decide, or even form an opinion about whether to go with a normal or mastering version Massivo, is to use a regular Massive Passive for a session or two in your own room. We have seen in the past that the only engineers who have asked about a mastering version had yet to try the Massive. Using your previous extensive and intensive experience with other EQs may be a mistake, especially if you expect the Massive Passive to be roughly similar to them. It isn't. Please, try it first, then decide.There are 5 High Pass Passive Filters and bypass, plus 5 Low Pass Passive Filters with bypass. We made them extra steep. Why? So you can remove the garbage and not mess up your music. The way these filters interface with the parametric EQ bands simply sound beautiful. The mastering version filters go higher and lower compared to the regular Massive Passive filters.High Pass Filters: OFF, 12, 16, 23, 30, 39 HzLow Pass Filters: OFF, 52kHz, 40kHz, 27kHz, 20kHz, 15 kHzThe Mastering Version filters are tuned specifically for mastering where they will be used to fix problems in the low and high extremes rather than to make effects in the mid-band. The slopes are all 18dB per octave on the mastering filters except for the highest 52kHz Low Pass filter which has a 30 dB/octave slope.Features:All-Passive tone sculpting circuitryUnique Shelf curves use the "bandwidth" controlOverlapping and Interleaved Frequency choicesEvery band switchable to shelf or bellVacuum tube make-up gain and line driversParallel symmetrical topologyPremium components throughoutHP and LP Filters plus gain trimsMetal Manley mechanically detented GAIN and BANDWIDTH control knobsSpecifications:Ins & Outs Balanced XLR & 1/4" (accepts unbalanced)Level +4 dBu nominal, internal switches for -10 operationBypass Switch bypasses EQ & tube circuits (not hardwire)44 Frequencies (roughly 1/4 octave spacing)Frequency Range: 22 Hz to 27 kHzEQ Boost/Cut Range : Maximum 11dB boost or cutNominal Q range: 1.5 to 3 (uniquely active in shelf modes)Frequency Response: ±2 dB: 8 Hz to 60 KHzMaximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 HzTHD & Noise (1KHz @ +4 dBu): 0.06%Noise Floor (referred to +4dBu): -85 dB (A Weight)Dynamic Range: 120 dBTube Complement: 2 x 12AU7, 4 x 6414Power Consumption (120/240VAC): 72 wattsUnit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.Mains Voltage Frequency: 50~ 60HzSize (3U): 19" x 5.25" x 10"Weight: Unit 21 lbs. Shipping Weight: 27 lbs.  

7.095 €
36 Interest Free Instalments 197,08€ / month
Upon Order

What if you could juice your tracks with massive bass, shimmering air, and addictive warmth - without having to shell out a fortune? Well, now you can, with the Warm Audio EQP-WA. A Pultec-style 2U rackmount tube equalizer, the EQP-WA rocks the look and feel of the classic original that graced countless hits. But with its fully discrete circuitry and top-drawer components such as CineMag transformers and premium tubes, it also nails those elusive euphonic sonics that make your recordings come alive. Add luster and brilliance to your music, affordably, with the Warm Audio EQP-WA.the EQP-WA gives you: top-notch performance, in fact, and incredible value. The EQP-WA lets you shape your tracks with an exciting, vibey warmth that makes any vocal or instrument sound, well, gorgeous and sit proud in the mix. We dig the Warm Audio EQP-WA, and - especially considering its gentle price tag - we're confident you will, too! Warm Audio EQP-WA Features at a Glance:Tube equalizer based on the classic Pultec EQP-1AGenuine CineMag input and output transformersPremium high-voltage 12AX7 and 12AU7 tubesCineMag inductor EQ sectionEQ bypass - signal still passes through tubes and transformers for warming enhancementNo insertion loss - loss restored by tube amplifierXLR and TRS transformer-balanced inputs and outputsFlat frequency response from 20Hz to 50kHzBoost and Cut controls can be used simultaneously for classic "phase" effectLow-frequency boost (up to 12dB) at 20, 30, 60, 100, 200, 400, and 800HzLow-frequency cut (up to 18dB) at 20, 30, 60, 100, 200, 400, and 800HzHigh-frequency boost (up to 18dB) at 3, 4, 5, 8, 10, 12, and 16kHzHigh-frequency cut (up to 14dB) at 3, 4, 5, 10, and 20kHz5 added frequency points for greater flexibilitySwitchable 115-/230-volt IEC power inlet2U rackmount chassis 

619 €
12 Interest Free Instalments 51,58€ / month
Upon Order
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