Chandler Limited TG12345 Curve Bender Mastering Equalizer

Manley Massive Passive

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

6.094 €

SPL Passeq Black

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

3.794 €

Bettermaker Mastering Equalizer

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 €

Manley Stereo Pultec EQ

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!

5.365 €

API Audio 5500

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 €

WeissEQ1 LP/DYN

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 €

Thermionic Culture The Swift

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.

4.426 €

Retro Instruments 2A3 Dual EQ

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

4.949 €