Signal Processors

Dual-Channel Microphone Preamplifier in 120V-Technology With the Crescendo duo, we are expanding our 120V microphone preamp portfolio with a dual-channel version of the Crescendo. The Undistortable Crescendo duo convinces with the same outstanding sound and technical features as the flagship of the product range – the eight-channel Crescendo. It is almost impossible to overdrive this microphone preamplifier. It shines with absolute signal fidelity and clarity and lets microphones appear in a whole new light – because they have never been amplified like this before. 48 V  The phantom power required for the use of condenser microphones is activated with the 48V switch. VU -10 In the Crescendo duo, high gains can be used to optimally drive subsequent AD converters. Should the VU meter therefore deflect too far, you can reduce the displayed level by 10 dB. Ø Turn the polarity of a microphone signal 180° by activating the polarity reversal switch. HP A high-pass filter with 6 dB per octave reduces subsonic noise below 120 Hz. Mic Gain The gain is adjusted by a 12-step switch. The pre-amplification ranges from +18 dB to +70 dB. Output The switchable output control allows level adjustment to subsequent devices. The control range is +/- 10 dB. This results in a total gain of 80 dB.   Pad For loud input signals (including line signals) the input sensitivity can be reduced by 20 dB. Built-in Output Splitter Both microphone preamps have dual outputs. The often needed splitter is therefore already built in. Record the microphone signal on a recording system and at the same time record it on a backup system. Specifications Analog input & output XLR (balanced): Maximum input & output level: 32.5 dBu Input impedance: 10 kΩ Output impedance: 75 Ω Frequency range (-3dB): 20 Hz – 100 kHz THD + N (10 Hz – 22 kHz, 32 dB Gain): 0.002 % THD + N (10 Hz – 22 kHz, 63 dB Gain): 0.001 % Noise (A-weighted, 150 Ω, 32 dB Gain): - 94 dBu Noise (A-weighted, 150 Ω, 63 dB Gain): - 67.5 dBu E.I.N. (150 Ω): -130.5 dBu Common mode rejection (1 kHz): 88 dB Internal Linear Power Supply with Shielded Toroidal Transformer: Operating voltage for audio electronics: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply: Mains voltage (selectable, see fuse chamber):230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 20 VA Dimensions & Weight: W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 6.1 kg Shipping weight (incl. packaging): 9 kg

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

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

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

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

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

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

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

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.

New colours from the masters of analogue.Fusion is an all-analogue 2U stereo outboard processor created for the modern hybrid studio. Fusion introduces five completely new analogue colouration tools designed to bring the perfect combination of added tonal character, weight and space to your mix bus or stereo stems, with the detail, warmth and finesse that only real analogue circuits can provide.The SSL sonic legacy is built upon a much-emulated collection of analogue audio processing tools that have featured in generations of studio consoles; pristine mic pre’s, classic Channel EQ & Dynamics, the legendary Stereo Bus Compressor, the Listen Mic Compressor, and the unique SSL summing bus.Fusion takes SSL into a new era with the introduction of a suite of new analogue processing tools that offer exceptional tonal character and versatility. Fusion expands the processing palette for hybrid studio owners and is a superb partner for the SSL Stereo Bus Compressor.Fusion features five analogue processors that can be used discretely or combined:Vintage DriveVintage Drive - is a unique non-linear harmonic enhancement circuit that brings cohesion and strength to your mix. Drive and Density controls interact to produce harmonic saturation and soft compression derived from overloading an analogue circuit. It can be used lightly for subtle thickening saturation or driven hard for more extreme distortion.The Violet EQThe SSL Violet EQ - an all-new minimum phase-shift, two-band shelving EQ. The first new SSL analogue EQ circuit for more than 25 years draws on the SSL legacy of carefully selected frequencies and response curves to create a musical and intuitive EQ designed to quickly dial in low-end weight and high-end sheen. High and Low frequency circuits each offer four switched frequency points and +/-9dB attenuation.HF CompressorA new High Frequency Compressor delivers the distinctive sound of high frequency rounding in the analogue domain. A compressor that effects high frequencies only, optimised for smooth and transparent harshness reduction and a tape-like high-frequency roll off – great for taming brittle high frequency fizz.Stereo ImageA new Stereo Image enhancer provides a true analogue Mid-Side circuit that manipulates the Side signal, allowing for widening and spatial manipulation of the stereo field.TransformerA switched, custom-designed SSL Transformer circuit introduces subtle low-frequency saturation, alongside a high-frequency phase-shift. The result is a simultaneous thickening of the low-end and an added sparkle to the high-end.Expertly designed for today’s hybrid studioSSL has also always been known for clever connectivity and features that streamline and accelerate production workflow. Fusion fits right in with a collection of workflow enhancing features including: +/-12dB Input and Output Trim controls, an Input overload LED, large peak-hold metering, a front-end 3rd order High Pass Filter with three selectable cut off frequencies, and tri-colour status indicators for the Vintage Drive and HF Comp sections.A set of XLR connections can be used either as a Stereo Insert for stereo mix bus processing or switched to function as a Mid-Side (MS) circuit enabling separate compressors or EQ to be applied to the middle (centre) and sides of a stereo signal. In Stereo Insert mode the insert point can be switched to pre-Violet EQ, when in MS mode the insert can be switched to pre-Stereo Image controls. Input and Output connections are via XLR.Specifications:Includes 5 new circuits for signal processing and tone colouring in one deviceVintage Drive: Saturation for harmonic overtones and subtle compressionViolet EQ: Newly developed 2-band equalizer (shelving characteristic) with 4 selectable frequencies per band and +/- 9 dB strokeHigh Frequency Compressor: Frequency-selective compressor to round off the high-frequency range and control unwanted transientsStereo Image: Analogue M / S matrix for stereo broadeningTransformer: Switchable SSL transformer for subtle emphasis on bass and trebleSwitchable insertInput and output level controlsSwitchable high-pass filter with 3 frequenciesLevel meterBypass switch2 XLR inputs2 XLR outputsDimensions: 19" / 2 HE

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.

The COMP-2A is a one channel vintage style Compressor / Leveler using vacuum tubes in the signal and side-chain path. 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 transistors and integrated circuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The circuit used in the COMP-2A is based on a classic design that was originally produced in the early 1960s and it was initially intended for broadcast applications. It uses an electro-luminescent panel and a photoelectric cell to control gain. This gives it a unique, program dependent compression characteristic. In addition, the all tube signal path and the transformers adds a wonderful and musical character to the sound.The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made the original units a favourite of engineers and musicians worldwide. This classic sound is now available at a very affordable price point with the COMP-2A.Features:Vintage style all tube signal path. The tubes are fitted with grounded shields.Transformer balanced input and output. Can drive almost any load, balanced or unbalanced.Golden Age Project's version of the classic optical unit using a long life electroluminescent panel and two carefully matched Silonex NSL5910 photoresistors for T4B-style electro-optical gain control with program dependent attack and release times.Very simple to operate with only two main controls, Gain and Peak Reduction.HF control can make the side-chain circuit more sensitive to mid and high frequency content.Linear low noise regulated filament and high voltage power supply.A big meter selectable to show gain reduction or output level at two different reference levels.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack and switch for connecting to another unit for stereo operation.All external controls located on the front panel.Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.A solid build quality that will last many years of normal use.

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

Ο Άρχοντας του ΧρονισμούΤο Master Clock CC2 της Grimm Audio φέρνει την απίστευτη σταθερότητα χρονισμού του Αναλογικοψηφιακού μετατροπέα AD1 στο σύστημά σας. Το CC2 δέχεται σήμα Word Clock και διανέμει υπερυψηλής ποιότητας Word Clock σε κάθε συσκευή σας. Εναλλακτικά, το CC2 μπορεί να επαναχρονίζει (reclocking) και να μειώνει (de-jittering) τις διακυμάνσεις χρονισμού (jitter) της ψηφιακής σύνδεσης s/pdif ανάμεσα στο CD transport ή media serverκαι στο DAC (με κάθε CC2 παρέχεται ένα σετ καλωδίων μετατροπής RCA- XLR). Τώρα κάθε studio ή high end σύστημα μπορεί να επωφεληθεί από μερικά από τα ξεχωριστά χαρακτηριστικά του AD1 όπως η απόλυτη μουσική ροή και η τονική σταθερότητα.Πολλοί άνθρωποι γνωρίζουν για τη σημασία του ταλαντωτή σε εξοπλισμό ψηφιακού ήχου. Παίζει σημαντικό ρόλο στην επίτευξη ποιοτικού ήχου. Ο ταλαντωτής κατευθύνει τη διαδικασία δειγματοληψίας στους μετατροπείς και μπορεί συνεπώς να θεωρηθεί ως αγωγός του όλου συστήματος. Χρησιμοποιώντας ένα εξωτερικό ρολόι συχνά βελτιώνει την ποιότητα μιας κάρτας ήχου. Αυτό σχετίζεται με την βραχυπρόθεσμη σταθερότητα του ρολογιού, με άλλα λόγια: το ποσό του jitter.Εάν θέλετε ο μετατροπέας σας να ακούγεται διαφανής , το κύκλωμα ταλαντωτή της Grimm θα είναι η πρώτη σας επιλογή. Έχει αντικειμενικά το χαμηλότερο jitter σε σχέση με οποιαδήποτε pro συσκευή clock στην αγορά.Είτε εργάζεστε σε ένα στούντιο ηχογράφησης, σε ένα mastering στούντιο ή μιξάρετε ζωντανό ήχο, το CC2  εγγυάται τη βέλτιστη ποιότητα ήχου. Οι πελάτες που χρησιμοποιούν το clock της Grimm Audio λένε οτι έχει "εξαιρετική λεπτομέρεια και απεικόνιση" και "μια χειροπιαστή αύξηση της φυσικότητας, την επέκτασης και της χωρικής κατανομής"  Με το CC2, η  κορυφαία ποιότητα  απόδοσηs μπορεί να γίνει κτήμα του καθενός.Όπως όλα τα προϊόντα της Grimm Audio, το CC2 ξεχωρίζει για την κομψότητα του σχεδιασμού και την ποιότητα της κατασκευής του. Χαρακτηριστικά:ultra-low jitter clock source2 word clock outputssample rates from 44.1kHz up to 192kHzsmall form factor for portabilityoptional 19" rack mount  

Since the early 1990’s, the Manley ELOP® stereo electro-optical limiter has been a tracking hero effortlessly controlling dynamics on countless records around the globe, delivering the coveted classic, all-tube sound that Manley Labs is known for. So how do you improve on something this good? Well, for starters, we have now added a 3:1 compression ratio feature which opens up the doors to greater versatility, especially for 2-buss applications. The 2016 ELOP+ has been completely re-engineered from the ground-up, beginning with our amazing modern high voltage switching power supply purpose-designed for our vacuum tube audio circuits. With careful reference to our sonic past, we have deployed our highest performance vacuum tube line amplifier and White Follower output stage in this new version all housed in a build-efficient chassis behind a drop-dead gorgeous precision-CNC-milled faceplate, all proudly made in America, of course. The new Manley ELOP+ is everything you love about our legendary ELOP, plus!Features:10:1 Limiter and 3:1 Compressor ratiosAll-tube audio path uses 5751 and 6922 dual triodesBalanced Manley IRON® transformer-coupled XLR InputsXLR impedance-balanced outputsBYPASS switches and AUTOMUTE with warm-up delayLarge illuminated VU meters read Gain Reduction or Output levelsSTEREO LINKSide-Chain High-Pass FilterUniversal internal power supply operates worldwide 90-250V~AC 50/60Hz

The Manley Nu Mu gives you the best sonic qualities of both tube and transistor compressors. Manley spec'd the Nu Mu with the all-tube, T-Bar-modded front end of their fabled Variable Mu and followed it with a state-of-the-art solid-state audio chain. At Sweetwater, we're quite impressed by the results - silky smooth, fat, and punchy! Manley's innovative HIP circuit is onboard, enhancing low-level detail without taking a toll on dramatic transients. Handcrafted in the company's Chino, California, factory, the Nu Mu delivers superior sonics, performance, build quality, and value - exactly what you'd expect from Manley.Advanced dynamics control is yours with the Manley Nu Mu!Manley Nu Mu Features:Hybrid tube/solid-state compressor/limiterDual channel (stereo linkable)Features Manley's IRON input transformers4 hand-selected and matched 6BA6 vacuum tubesBalanced XLR I/OHIP circuit elevates softer dynamics without crushing louder onesLighted VU meters, switchable between Gain Reduction and Output LevelCustom, internal, universal high-voltage switched-mode power supply, for worldwide operation SpecificationsType: Tube/solid state (4 x 6BA6 vacuum tubes)Number of Channels:    2Controls: Threshold, Attack, Recovery, OutputRatio: 1.5:1, 4:1 to 20:1Side Chain Inserts:  2 x 1/4" TRSInputs:  2 x XLROutputs:  2 x XLRRack Spaces:  2UHeight:  3.5"Depth:  7"Width;  19"Weight:  8.5 lbs.Manufacturer Part Number:  NuMu​

Simple:Hit your choice of buttons and twist the threshold for radio-ready results Smart Dyn Dual Slope Detection: Automatically limits peaks while stealthily compressing the average.Auto Attack/Release: Replace "guess" with "yes" for rapid-fire results. Transparent:Performs like an automated fader: No more drawing vocal rides.True Stereo Dual Detector: Traditional linking shares one detector, often resulting in a narrower stereo image.Immaculate VCA: Virtually no distortion, even with 20dB of gain reduction. Powerful:Internal sidechain circuitry houses the audiophile soul of the compressor:Bass Cut: Tightens the track without sacrificing the low end.Sibilance Boost: Shave sibilance and shrill histrionics with zero post-compression hangover.

The Master of Timing Grimm Audio’s CC1 V2 brings the incredible clock stability of the AD1 to your current setup! The CC1 V2 accepts Word Clock and distributes a super high quality Word Clock sync to all equipment in your system. Alternatively, use the CC1 to reclock and de-jitter the s/pdif digital audio connection between your CD transport or media server and DAC (a set of XLR-RCA conversion cables is provided with the unit). Now, any studio or high end system can benefit from some of the features of our AD1’s unique sound quality like ultimate musical timing and stability of tone. “With regards to a clock, accuracy and stability are two very different things.” Grimm Audio’s extensive research into the correlation between jitter and sound quality brought to light that emotional response to music is vastly more sensitive to jitter than previously realized. Attention turned from “making jitter low” to achieving the most stable clock possible. Marketing tends to express a clocking circuit’s performance in a “the lower the better” ppm (parts per million) or picosecond (1 picosecond = 1 trillionth of a second) number. Hence the claim that Atomic clocks are “the best” for audio because of their accuracy. Atomic clocks are “accurate”.Some are only a second off in a century (about three billion seconds): an average accuracy of 0.3 parts per billion or 0.0003ppm. That’s the sort of thing they were designed for. Does that imply that they are only one three-billionth of a second off in one second? Not at all. When a clock runs one millisecond late during one second and one millisecond early during the next, it’s basically correct again. So long as these short term errors don’t accumulate over time, they do not disqualify the clock as a timepiece. But you will agree that it would not merit the name “stable”. On the other hand, a clock that is one second off every day could still manage to slice every second into tiny slivers that are just perfectly equal. Accuracy and stability are two very different things. “Owing to a radically redesigned discrete crystal oscillator, CC1’s clock stability betters that of even the best test equipment available.” Grimm Audio’s research turned up a surprising array of previously underestimated performance factors that affect a clocking circuit’s stability, like power supply noise, oscillator control circuit noise and low-level crosstalk. The end result is that owing to a radically redesigned discrete crystal oscillator, clock stability betters that of even the best test equipment available. To sync to an external reference the CC1 sports a PLL offering an astounding 90 dB of jitter suppression at 10 Hz, further improving at 60 dB/dec. The CC1 offers base rates of 44.1kHz and 48kHz and 1/2/4 multiples in separately selectable groups, in addition to an AES/EBU reclocker for cleaning the digital feed to your DA converter. Like all Grimm Audio products, the CC1 features striking styling and solid build quality. Features: ultra-low jitter clock source generate and slave to word clock s/pdif reclocking sample rates from 44.1kHz up to 192kHz two independent sample rate groups

The class-A circuit used in the EQ-73 MKII 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 MKII 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 MKII has IC-based balanced connections for self contained operation. It can also be used together with one of our PRE-73 models that has an Insert or with other units that has a low level 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!

Bricasti M10

Bricasti System 1

Discrete Compressor, Re-Issue. Originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.The API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA "feed forward" compressors so common today. A remarkable multi-function "ceiling" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.        FEATURESAudio circuit uses the 2510 and 2520 Discrete Op Amps with transformer outputContinuously variable detented Threshold controlContinuously variable detented Attack and Release controlsContinuously variable detented Ratio controlOutput Fader level control10 segment VU/Gain Reduction meter with selector switchOverload LED"Link" switch for multiple unit interdependent compression linking"New"/"Old" switch for feed-forward or feed-back compression"Hard"/"Soft" compression curve knee switchPatented "Thrust" switch for frequency dependent side chain control"IN" switch with hard relay bypass when in the "Out" position

The Channel Strip is a complete input module with mic pre, dynamics processing, precision EQ and output level control. With extensive signal metering, multiple balanced insert points and an output mute switch, The Channel Strip contains the best features of a large console input channel in a single rack space. It's the perfect choice for anyone looking for that high-performance API console sound.The result of thoughtful engineering, The Channel Strip includes everything needed to record an audio signal. It all starts with the famed 512c Mic Preamplifier, which includes the benefit of additional Mic, Line or Instrument input switching. Next is the 527 multi-mode Compressor with fully adjustable Threshold, Attack, Release, and Ratio controls on detented pots. The patented THRUST® circuit in the 527 gives your track the "in-your-face" punch that has made this circuit an award winner. Also included in The Channel Strip is probably the most recognized and revered API EQ of all time, the 550A three-band Equalizer with its switchable frequencies and 12dB of boost or cut. The 550A's High and Low frequency bands can be individually switched to be shelving EQs, and the "B.P. Filter" switch inserts a 50Hz to 15KHz bandpass filter.At the output of the unit is the 325 Line Driver, taken directly from API console designs with an output level pot and 10 segment meter. The meter can also be switched to show the output level of the preamp. Each of The Channel Strip's processing pieces can be switched in or bypassed individually, while a flip switch internally routes the compressor after the EQ if desired. Additional features include a sidechain input and the famous API 2520/transformer combination.        FEATURESAPI 512c Mic PreamplifierAPI 550A EqualizerAPI 527 CompressorAPI 325 Line DriverComplete patching facilities on rear panelTwo ten segment LED VU displaysOutput clips at +30dBm

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

Channel strip... it doesn’t roll off the tongue or smack of a high fidelity recording device.Maybe thats why its taken us so long to build one. But we got over it. All labels aside, our new m103 is a powerful tracking tool for virtually any recording scenario. It starts with our tried and true m101 transformerless microphone preamplifier circuity.Headroom, detail, clarity, musicality – its all there. Complete with our exclusive ribbon mic mode, a 75Hz HPF and 48V phantom. The 3 band EQ section is built around single stage parallel tuning architecture, which minimizes circuitry and delivers natural, musical tonal shaping at all frequencies.Controls include a fully parametric mid, with shelving and peak modes on the high and low bands.The compressor circuit is based on an optical attenuator - the purest, high fidelity gain control mechanism available.It provides gentle limiting to fairly heavy compression, while remaining nuetral and transparent.The perfect way to zip it all up and send it downstream - clean, intact and alive. Comprehensive I/O options allow the mic pre and EQ/COMP sections to be accessed independently of each other, and the order of the EQ/COMP is switchable. The compressor controls can be linked for stereo applications, and 10 segment gain reduction and output meters make monitoring signal status simple. So there it is, we’ve done it.The m103 - a channel strip by name, a powerful tool by design.Stay tuned for complete details.

The COMP-54 is a one-channel vintage style Compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has 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-54 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 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 COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens™ and EMI™ used the same basic design.The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching.There are three selectable sidechain high pass filter frequencies available to handle special situations.The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry.The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.

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

For years the top mastering engineers and the hottest mastering facilities have been using custom-designed tools that were not available to the rest of us. Until now. We have distilled the essence of those tools to create the Dangerous Master. The Dangerous Master will provide you with the insert loops, sum & difference processing, level offset, and stereo image width control that will turn your high-quality outboard equalizers and compressors into a truly professional mastering rig.Hand built with top-of-the-line componentsStepped controls throughoutIncredibly clean and quietBuilt by the very same Chris Muth who designed the mastering equipment for many of New York’s top mastering engineers and studios, the Dangerous Master forms the centerpiece of a fantastic mastering system. It will tie together your choice equalizers, compressors and de-essors by providing accurate level control, easy monitoring facility, matrix processing and stereo image control, all in a compact 2 RU package.The integrated Input Monitor Offset allows you to focus on the sound of your master without being fooled by the pre- and post-process level differences.The S&M matrix is an analog sum and difference processor affording unprecedented control of stereo signals. Mastering engineers will enjoy the fact that S&M allows them to save seemingly unsalvageable tracks by altering vocal levels without touching the mix, by fixing overly wide or narrow stereo fields, or by de-essing aggressive cymbal hits while leaving the center lead untouched.Dangerous Master, combined with the Dangerous Monitor and your favorite processing gear, will provide you with what you need to turn any mix into a professional master.As with all Dangerous Music equipment, the Dangerous Master is designed by engineers, for engineers, and built by hand using the highest quality components.

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

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 

The perfect solution for mastering, recording and project studios, film-scoring, post-production and live sound. For over a decade, Antelope’s legendary OCX Master Clock has been a dominant force in the audio world. This legacy now continues with the newest master clock by Antelope Audio – Isochrone OCX HD.OCX HD raises the bar yet again, delivering sample rate support of up to 768 kHz, Antelope’s best-in-class 4th generation Acoustically Focused Clocking (AFC) jitter management algorithm and oven-controlled crystal oscillator.OCX HD Master Clock offers a great variety of clocking options – 10 configurable in pairs Word Clock Outputs on BNC, four AES/EBU Outputs and two more on S/PDIF.This vast assortment of connectivity makes the OCX HD the most versatile audio master clock on the market, while proven, proprietary clocking technology delivers the most musical and reliable audio sync generation on the market. Additionally, OCX HD offers two Word Clock Inputs and a Video Sync Input, which can resolve to a huge variety of SD and HD formats, as well as clock distribution with gear-boxing, and pull-up and pull-down rates, as featured in the triple clock powerhouse, Trinity Master Clock. A 10 MHz Input allows for syncing with Antelope’s newest Atomic Clock – 10MX. Antelope’s latest master clock benefits from flexible firmware update functionality, as featured in all new-generation Antelope products, allowing for fast and easy firmware updates on the user-friendly software control panel, available for both OS X and Windows.The desktop app provides convenient remote control to simplify project workflow. The device is also easily configurable from an elegant front panel, which will add a futuristic aesthetic to any gear rack.Features:Antelope Audio game-changing 4th gen ACF jitter management algorithmOCX HD can output five different sample ratesAES/EBU, S/PDIF clocking outs up to 192kHz, video in on BNC and Atomic clock InputSpecifications:Sample Rate: Up to 768kHzClock Inputs: 2 x Word Clock, 1 x Video, 1 x Atomic, 2 x S/PDIF , 1 x AES/EBU, 1 x USB (for control)Clock Outputs: 10 x Word Clock, 4 x AES/EBU, 2x S/PDIFRack Spaces: 1U 

The DriveRack PA2 provides all the processing you need between your mixer and amplifiers to optimize and protect your loudspeakers. With the latest advancements in dbx’s proprietary AutoEQ and AFS algorithms, a new input delay module for delaying the FOH system to the backline, Ethernet control via an Android, iOS, Mac, or Windows device, and updated Wizards, the DriveRack PA2 continues the DriveRack legacy of great-sounding, powerful, and affordable loudspeaker management processors, for a whole new generation.All New Setup Wizard Streamlined AutoEQ All New AFS (Advanced Feedback Suppression) Mobile Control (Android, iOS, Mac, Windows) dbx Compression Graphic EQ 8-Band Parametric EQ (adjusted when using the AutoEQ) Input Subharmonic Synthesis Crossover (supports full range, 2-way, and 3-way systems) 8-Band Parametric EQs (used for speaker tunings) Output dbx Limiting Driver Alignment Delays.

The Shadow Hills Mastering Compressor has extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical compressor, followed by our discrete Class-A compressor/limiter. Both feed our switchable custom output transformers, Nickel, Iron, and Steel. There is enough gain in each section to overdrive the hottest tape, or clip your converters, if you're into that sort of thing.The input stage is transformer balanced, followed by our fully discrete optical compressor. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is our discrete Class-A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: .1, .25, .5,8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material. Lastly the signal goes through our new Shadow Hills custom transformer-switching network.The first position is Nickel, which is our custom version of a famous L. A. custom console. Next is Iron. In this mode the signal goes through our op-amp and into a Class-A output stage then to our custom Iron transformers, the last transformer position is Steel. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty, respectively.The optical section has a hard-wired bypass that completely removes it from the signal path, and the Class-A VCA compressor is also hardwire bypassable, completely removing it from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a strait wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it serves as an excellent tracking compressor.For instance, you might call up the chain of the optical compressor, then to the Class-A output and Iron transformer, for vocals, or select just the Class-A VCA compressor with a 10:1 plus the Steel transformer for crushing some room mics, and on and on.The metering can reflect, optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.All 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite 

High-end Clocking, the Next GenerationAntelope Audio defined high-end clocking with their original 10M Atomic Clock and Trinity Master Clock. Now, the company's next-generation 10MX Atomic Master Clock combines the best attributes of both, in a svelte 1U chassis. Boasting even better sonic imaging and ergonomics, as well as sampling rate support up to 768kHz, the 10MX features a newly designed, smaller atomic oscillator and an updated power supply that make it possible to shrink the form factor and reduce the weight of the unit - excellent news if you work in multiple studios or on the road. And you'll also appreciate the new software control panel that gives you remote control over clock rates and display brightness.Antelope's no-compromise clockingIn pro audio, Antelope Audio is considered the gold standard when it comes to high-end clocking. The 10MX Atomic Master Clock builds on the clocking prowess of the original 10M Atomic Clock and Trinity Master Clock by incorporating proven technologies and cutting-edge industrial design to deliver a no-compromise product that gives you the atomic precision of the 10M, along with the sophisticated Acoustically Focused Clocking (AFC) algorithms of the Trinity - all in a gorgeous-looking (and quite portable) 1U package.Clock up to ten devices simultaneouslyThe Antelope Audio 10MX is fitted with multiple atomic outputs, which let you simultaneously clock up to ten devices over 10MHz. It also gives you four BNC word clock outputs that support an astonishing sample rate of up to 768kHz. (Four additional word clock outputs are available via AES and S/PDIF.) You can access all the features of the 10MX directly on its front panel or via the included Mac/Windows software control panel.Ideal for both studio and stageSweetwater knows that as digital gear continues to proliferate in your audio signal chain, high-quality clocking has never been more essential. The Antelope 10MX is ideally suited for state-of-the-art recording, mixing, and mastering studios, while its trim size and weight also make it perfect for a variety of live sound applications where exceptional clarity and ultra-stable, 3-dimensional imaging are required. The 10MX is built to exacting tolerances with top-shelf components, to deliver the most stable clocking solution available. And because the 10MX's smaller Rubidium oscillator is extremely efficient, you enjoy the benefits of lower power consumption and commensurate heat generation. Antelope Audio 10MX Atomic Master Clock Features:The best of the 10M Atomic Clock and Trinity Master Clock, in a compact 1U chassisNew smaller atomic oscillatorImproved sonic stability over 10M10 x 10MHz outputs on BNC connectors4 standard word clock outputs on BNC connectorsS/PDIF and AES outputs (2 each)Onboard clock rates up to 768KHzIncluded Mac/Windows software control panel SpecificationsSample Rate    Clock rates up to 768 kHzClock Inputs    1 x Word (BNC)Clock Outputs    4 x Word (BNC), 10 x Atomic (BNC)Other I/O    1 x USB Type B, 2 x XLR (AES out)Rack Spaces    1UManufacturer Part Number    10MX​​​

SLAM! stands for "Stereo Limiter And Micpre" and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending– it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, "it just works" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM! Specifications:Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable biasOutput Tubes: 2 x 6414W NOS USA dual triodesI/O: MANLEY transformer coupled Balanced Inputs and OutputsMicpre: Selectable 48V phantom power and PHASE REVERSEGain: 60dB max Micpre, 43dB max DI, 20dB max Limiter GainInput Impedance: 2000Ω Micpre, 1MegΩ DIFET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1Frequency Response: 5Hz to 60KHzMaximum Output: +32dBm, +30dBm (into 1KΩ load)THD+N:

The class-AB equalizer circuit used in the EQ-81 MKII is similar to the eq section in the classic 1081 module, without the high and low pass filters. 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-81 MKII has stepped frequency controls that offers a wide selection of frequencies from 33 Hz to 15 kHz. The BASS and TREBLE frequency bands are switchable between shelving and bell and the MID frequency bands is of the bell type with a switchable Hi Q setting. The control range is +/- 18dB. All four bands can be set in an off mode. The EQ-81 MKII can be used either as a standalone EQ or connected to the insert jack of one of the Golden Age Project preamps. Combining one of our PRE-73 preamp´s and an EQ-81 MKII and using a UNITE rack kit to mount them together, one will get a 19-inch 1081-style unit at a low cost and with a great sound!

High-end dual mono tube compressor, Optical gain reduction element, Linkable for stereo applications, Dual VU-meters showing output or compression, Variable attack and release with a 1,5:1 to 10:1, Output Gain (off to +10 dB), Frequency response @ -3 dB: 5 Hz to 60 kHz, Low noise: < -80 dBu @10 dB gain, Conductive plastic potentiometers, Gold plated switches, Clickless bypass relay, XLR I/O, 19"/2HE.

Stereo compressor/gate with integrated PSU, Over Easy function (automatic attack and release), Compressor-Ratio "1:1 - 4:1", XLR ins/outs, -10/+4dB switchable, stereo link, 19", 1U

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production.

Empirical Labs ELDS Derresser, Module for API-500 System, Freq. Response is 3 Hz to 120 kHz (-3dB points), Dynamic thomann Range - 115 dB from maximum output (.5%THD soft clipping) to minimum output. Transformerless noise floor typically – 93dBu, Distortion Ranges between .0035% and .01% depending on mode and settings, DC coupled Input and Outputs, High quality audio caps used internally, Input Balanced, thomann Output single ended but with balanced impedance, Pin 2 hot, Input Impedance is 20k Ohm. Output impedance is less than 51 ohms, D-S Dynamics Time Constants - Attack time is less than 1mS. Release .04 sec, fixed internally, Power Consumption – 8 thomann Watts max. 4 Watts Typical

The Retro Sta-Level is a replica of the legendary 1956 Gates Sta-Level. The Sta-Level dominated the sound of hit radio in the 1960's. Now these super musical sounding compressors have found their way into today's hits. The Retro Gold Edition celebrates fifty years of the products existence. The Sta-Level uses the coveted 6386 tube in a classic G.E. circuit design. Alternatively, the Gold Edition Sta-Level uses a pair of commonly available 6BJ6 tubes (stock). The customer has the choice to use their own 6386 they provide or the 6BJ6 provided with the purchase of the unit. The choice is yours and the sound is undeniably true to the original either way. Specifications Gain Reduction Threshold: Continuously adjustable from +24dBm to -20dBm Available Gain Reduction: 40dB Total System Gain: 35dB (with standard input and output pads) Distortion: 1 percent or less from 0-30 dB gain reduction Frequency Response: ± .25dB from 20-20,000 Hz Noise: -70dB or better referenced to gain reduction threshold Output Level: Continuously adjustable from -40 dBm to +18 dBm Input Impedance: Accepts low impedance active or transformer balanced 0-600 Ohms Output Impedance: 600 Ohm transformer balanced, terminated and resistive pad coupled Tube Complement: 2-6BJ6), 1-12AT7, 2-6V6GT, 1-6AL5, 1-OB2, 1-5Y3 Power Requirements: Three prong IEC - Switchable 115-230 VAC - 50/60 Hz Mounting Requirements: 3U metal rack 5.25" high, 19" wide, 8" deep

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

The Bricasti Model 7 is a modern high resolution digital design, utilizing a stunning array of the latest DSP processors, provides a platform for the long overdue next step in reverb processing algorithms. A separate fully differential analog section and dedicated transformer based linear power supply provide the finest analog specifications of any product of its kind. The Bricasti Model 7 features an exceptionally strong stainless steel chassis, and a tooled aluminum front panel, combine with a classic high visibility display and straight forward human interface, to complete an enduring design that is intended to fulfill its role, now and into the future. Each design element of the Model 7 is a carefully considered statement of our vision of what the evolution of reverberation processing in its most classic form can be. With a deep appreciation of the best designs which precede it, and a passion for moving the science of reverberation forward, the Model 7 provides a palette of sounds that encompass the familiar as well as new expressions in the art. Listen to the new reference in reverb processing; it will bring new life to your art, in a way unimagined by any process before it.

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement.This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production.

Fink Analog Audio CS2-FA offers two Complete Channel strips - ready for Dual Mono or Stereo linked use. You can track two different mics through it, or record a stereo pair with it. Loop through it during mix down for that great real analog 'plug-in' (times two.) Link it in stereo as a Bus Processor for vocals, instruments, or percussion groups; or use it as an analog stereo Mastering Processor. PREAMPA three tube preamp in the vintage Putnam console style, with continuous Gain and Level controls.EQUALIZER A passive parametric three-band EQ in the classic Pultec style, with all the familiar frequencies and curves.LIMITER A unique two tube implementation of the UREI 1176, preserving the FET attenuator character and controls of the originalSpecificationsBandwidth10Hz to 50kHz, +/- 1dBMaximum Output+23dBuGain80dBEquivalent Input Noise-122dBPreamp SectionInputsMic, Line, DIInput Pad0, -10, -20, -30dB, LineGain Control+/- 10 dB continuousLevel Control0 to 11Passive EQ SectionLow boost0 to +10dBLow Cut0 to -10dBLow Freq0, 40Hz, 80Hz, 160Hz, 250HzMid Boost0 to +10dBMid Q1 to 10Mid Freq2k, 3k, 5k, 7k, 10k, 15kHzHigh Cut0 to -10dBHigh Freq5k, 10k, 15kHzLimiter SectionMakup Gain-inf to +20dBInput Control0 to 11Output Control0 to 11Ratio1, SOFT, 4, 8, 12, 20, ALLAttack0.2 to 20 msec.Release100msec. to 2.2sec.Chassis2U x 15.25” deepPower20 Watts at 120/240 Vac