Signal Processors

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

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 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.

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 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

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.

LEXICON PCM96S-A, professional surroundprocessor with digital and analog i/o, new and legendary reverb and effectalgorithm, up to 24bit/96khz, firewire audio streaming for six channels, "hardware plug-in" for Mac VST and audio unit software, 2200 presets and 768 user-programs, three AES/EBU and six analog in/out with 25pin Sub-D, OLED Display, compact flash card slot, HiQnet compatible, Midi IN/OUT/THRU, dual ethernet/firewire, wordclock in, .1U, 19"          FEATURES DAW automation  FireWire streaming  Unrivalled collection of new and legendary Lexicon reverbs and effects  Connectivity options include six channels XLR analog, six channels XLR AES/EBU digital I/O MIDI, Wordclock, Ethernet and Firewire.

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

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

The Tube-Tech CL1B features a gain-reduction element, positioned immediately after the input transformer. It is controlled by the sidechain amplifier, which also contain the two time control circuits – one for fixed and one for variable Attack/Release. The two time-controllers can either be used separately or combined. This circuit contains semiconductor OP-amps for the entire control. The gain-reduction element is followed by a tube-based push-pull amplifier with variable gain up to 30 dB. A dedicated Bus selector with three positions (Off, Bus 1, Bus 2) is used whenever you want to link several compressors together. Input and output transformers have a static-screen between the primary and secondary wirings. Both Input and Output are balanced as well as fully floating.The CL 1B has proven its value by adding that sought-after vintage warmth and realism to the most demanding studio tracks.The Tube-Tech CL 1B main features include: Unique low distortion gain-reduction element All tube-based push-pull amplifier Multiple interconnection of several compressors via two busses VU-meter for monitoring input, compression and output Continuously variable attack and release time Gain Range (off to +30 dB) Variable Threshold (off to -40 dBu) Frequency response @ -3 dB: 5 Hz to 25 kHz Low noise: < -75 dBu @30 dB gain Clickless bypass switch

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

Stereo room simulator with AES/EBU connectors. Uses reverb algorhythms, based on the highly regarded QRS-stereo reverberator-unit from 1982. 2 AES/EBU input-channels and 6 AES/EBU output-channels. Midi I/O.

Stereo room simulator with AES/EBU connectors. Uses reverb algorhythms, based on the highly regarded QRS-stereo reverberator-unit from 1982. 2 AES/EBU input-channels and 2 AES/EBU output-channels. Midi I/O.

Stereo room simulator with AES/EBU connectors. Uses reverb algorhythms, based on the highly regarded QRS-stereo reverberator-unit from 1982. 8 AES/EBU input-channels and 8 AES/EBU output-channels (sub-D25 connector). Midi I/O.

LEXICON PCM96, professional stereo reverb/effects processor, 24bit/96kHz. Includes: 28 legendary Lexicon reverbs, modulation, and delay effects, new mono reverbs and effects including Chamber, Hall, Plate, "Hardware Plug-In" feature with Mac VST and Audio Units software, DAW automation through plug-in format, FireWire streaming through plug-in format, quick softrow keys for fast navigation through complex algorithms, large front panel OLED display, Compact Flash preset storage, HiQnet compatible. Multiple sample rates: 44.1, 48, 88.2, and 96 kHz. Two channels AES/EBU digital I/O, Dual Ethernet and Firewire Connections, MIDI IN, OUT, and THRU, External BNC Wordclock input. 2x XLR analog in/out. 19", 1RU.           FEATURES DAW automation  FireWire streaming  Unrivalled collection of new and legendary  Lexicon reverbs and effects  Connectivity options include two channels XLR analog, two channels XLR AES/EBU digital I/O Ν plus  MIDI, Wordclock, Ethernet and Firewire.

The EL7 FATSO is a modern digitally controlled analog device that offers many of the " musical non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. This two channel audio processor will musically integrate frequencies and transients and increase the apparant volume without actual increase in peak levels. In addition, two channels of famous Empirical Labs compression are provided. There are several compressor "types" with fixed attacks and releases (if you want a fully controllable compressor, you will need the Empirical Labs Distressor!).

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

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.

The Cranesong STC-8 Stereo Mix Buss Compressor/limiter. Highly regarded and sought after processor capable of emulating vintage equipment and creating distinctive new sounds to enrich lifeless audio and digital recordings. The Cranesong STC-8 Stereo Mix Buss Compressor/limiter is a high quality stereo compressor combined with a remarkably dependable peak limiter, providing overload protection critical to digital recording and broadcast transmitters. The STC-8's compressor is engineered to provide musically transparent gain control, but is also capable of emulating vintage equipment and creating distinctive new sounds. In addition, a switchable enhancement circuit creates analog and tube like warmth to enrich lifeless audio and digital recordings. This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-up on a wide variety of sounds. It can operate in true stereo or discrete independent mono, accessible by a front panel switch. The STC-8's sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain circuit. High signal quality is maintained by utilizing a discrete class A audio path, and by eliminating any VCA or optical gain control elements.  The STC-8 requires 2 rack spaces. All inputs and outputs are transformerless and balanced. The toroidal power transformer is UL approved and allows four line voltages for international use. The STC-8 delivers consistent gain control without sacrificing musical definition or harmonic richness.          FEATURES Highly regarded and sought after processor capable of emulating vintage equipment and creating distinctive new sounds to enrich lifeless audio and digital recordings Simultaneous Compression/Limiting Discrete Class A audio path Balanced/ Transformerless I/O Quick & Easy Presets Transparent Overload Protection Stunning versatility to produce clean or charactered, well glued mixes Transparent sound, highly regarded for use on vocals, overheads, toms and acoustic guitar as well as the mix buss

TRAKKER is a high quality Single Channel Discrete Class A Compressor Limiter. It functions either as a musically transparent compressor or as a vintage compressor - limiter with selectable hard or soft knee.TRAKKER is a maximum-versatility toolkit for solving real-world recording, broadcast, and sound reinforcement problems with the utmost attention to signal quality. Trakker can create distinct new sounds or maximize existing ones. TRAKKER has adjustable threshold, attack, release, knee shape, and makeup gain controls. In addition to Character Switchthese controls, a function switch allows the selection of transparent operation or vintage operations such as optical, air optical, soft knee, and hard knee - each with four different amplifier/gain control sounds.Amplifier gain control sounds are: Transparent Vintage (tube or old style Class A) Transparent with VCA artifacts Vintage with VCA artifacts

Thermionic Culture is celebrating its 20th anniversary with the launch of a limited edition Thermionic Culture Vulture 20A at the 2018 NAMM Show. The 20A differs from the original in that it has much lower background noise using Sowter transformers to balance line inputs and outputs and also indented pots for easy recall. The sound is nearly identical to the original except the top end is extended to far beyond audio range making it a great mastering tool. It still has the classic Culture Vulture distortion settings with an extra extreme position on the function switch.Originally designed as a "distortion box" to simulate distortion in valve amps, the Thermionic Culture Vulture has found lots of uses beyond this. Some owners use them on drum loops, vocals, piano sounds and even across entire tracks (it is a stereo unit). Distortion figures are reduced to only 0.2% at lowest to about 99.9%. Predominant distortion can be changed from even to odd harmonics with a simple switch.Features:Warm sounds gently or create a noise like a 200 watt guitar stack with all the drivers slashedIndependent channel operationOdd or even harmonic distortion, or combination of bothAll valve design free from solid state additivesHigh impedance line input or instrument inputs4 & 7 kHz filtersOverdrive & bypass switches

The Phoenix HG 15 is a single channel version of our classic Phoenix Stereo Compressor, having the same gentle “variable mu” type compression curve, though it becomes near to a limiter at high compression levels.The gain has been boosted to suit mic inputs, particularly valve and FET condenser types, but many moving coil types, such as Shure, Audio Technica, etc. are fine to use if the sound source is quite loud or close-miked.With the Threshold switch set to Comp Out it’s a clean mic/line amp, now add a little Active Eq, “Presence” and/or “Air” to brighten the sound, then switch in some compression and achieve that gentle “super-natural” effect that only Thermionic Culture can give you.The Output Level control acts as a reverse linear attenuator after the electronics, and can be used simply to reduce level if feeding a low level input, or to add “Attitude” by reducing the output and increasing the input.  If you’re working from line level, it’s OK to switch the input from “Line” to “Pad” but ensure the +48v switch is OFF!2 HG15s can be linked together for stereo use by a phono-phono lead from the Link socket at the rear.   There’s a Side Chain Bass Cut switch, which can also be useful in mono operation. To sum up, The Phoenix HG15 is ideal as just a mic amp for vocals, violins, horns, guitars…… especially when using a high output mic like the U87.  Then having the ability to add compression and a bit of eq.Features:High Gain Mic Amp/Compressor/EQ with super-natural valve sound;Based on Phoenix design with 52 dB gain available;Fully Balanced circuit with XLR in/out connectors;+48v Phantom power available;Threshold control has 7 way switch with Compressor Out position;Time Constant switch has 6 combinations of Attack & Release;Side Chain Bass Cut;Presence and Air switches to boost mid and high top with In/Out switch;Bass Cut to roll off low bass;2 valves, 6AQ8EH input and 12AT7/ECC81 output;Solid State side chain! ;Link socket to connect 2 HGs for stereo buss operation, etc.

Thermionic Culture have released a new version of the Mastering valve compressor, the Mastering Plus. The classic hand built point to point wired soft knee compressor has a compression ratio from 1.2:1 to 5:1 at 15dB of compression and uses Mullard and Siemens valves and custom Sowter transformers.Following on from the success of the previous models including the red face anniversary limited edition the new model features new switched and stepped rotary controls for quick and easy recall. The input gain features a 24 position ELMA, a 11 position ELMA for the Threshold, 6 position ALPHA attack and release and a 31 position OMEG stepped output pot. The same side chain filter section as previous versions has been retained. The Phoenix is a stereo compressor, which can be used as a pair of mono compressors. It has a ‘soft knee’ or ‘variable mu’ characteristic in that the compression ratio increases with the amount of compression being used. Initial compression is 1.2:1 increasing to 5:1 at 15dB compression.The Phoenix is being updated continually and this unit is the Master version (suffix M) with higher stability and faster release than earlier models. A side chain filter has now been added to provide 75Hz & 150Hz, but more permutations are possible when the MC is used in stereo mode with the link switch engaged.The Master Phoenix is easier to recall as it has a mixture of indented and switched controls and the screwdriver adjustment on the chassis behind the meters controls the current through the valves on this unit, so this corrects to some extent for valve ageing. A screwdriver is supplied with the Master Phoenix and should be used periodically to adjust the meters to zeroStepped Input & Output controls * 6 position switched attack control * 7 position switched release control * 11 position switched threshold control

The Manley VOXBOX shatters all your preconceptions of what a mic preamp can do. It's a voice processor, but that's only the beginning. Besides the fully professional, great sounding mic preamp section, the VOXBOX also offers an innovative opto-compressor; Manley's special EQ section with the extended Pultec Mid Frequency Equalizer; and a de-esser and peak limiter section. You also have tight control over all your parameters, no matter what section your using. Top it all off with Manley's state-of-the-art design specifications and you've got an impressive piece of gear with great versatility. The VOXBOX is not only a vocal processor; it also works its magic on instruments, featuring great settings for drums, bass, guitars, keyboards, etc. The VOXBOX is easily one of the most comprehensive audio processors you can find and is highly respected in the world's audio community.Specifications:Stunning mic preamp, with opto-compressor, EQ with the extended Pultec Mid Frequency Equalizer, de-esser and peak limiter for vocal and instrument tracking applicationsManley Transformers w/nickel laminations in mu-metal cases2K ohm MIC INPUT Z w/High current 48V Phantom power built-inHi-Z (100K) Direct Instrument InputLINE & INSERT INPUTS (balanced XLR & 1/4 inch)PREAMP & EQ outputs LO-Z (50 ohm)Transformer balanced XLR outputTransformerless unbalanced 1/4 inch outputsSTEREO LINK for Compressor & De-esser/Limiter offers expandability if you get another VOXBOXSIDE CHAIN MONITOR for De-EsserLarge ILLUMINATED Sifam METER with FIVE readout modesTHD + N (1kHz @ +20 dBu): 0.3%Maximum output: +31dBuDe-Ess Notch Frequencies: 3, 6, 9, 12KHzPower Consumption: 24 wattsDimensions: 19 x 5.25 x 10 inches (occupies 3U) 

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

Originally designed as a "distortion box" to simulate distortion in valve amps it has found lots of uses beyond this. We know that some owners use them on drum loops, vocals, piano sounds and even across entire tracks (it is a stereo unit). We have refined this so that distortion figures are reduced to only 0.2% at lowest to about 99.9% (at least that's what our distortion meter tells us!). Predominant distortion can be changed from even to odd harmonics with a simple switch.         FeaturesWarm sounds gently or create a noise like a 200 watt guitar stack with all the drivers slashed.Independent channel operationOdd or even harmonic distortion, or combination of bothAll valve design free from solid state additives. High impedance line input or instrument inputs.4 & 7 kHz filtersOverdrive & bypass switchesTransformer balanced inputs & outputs on stereo jacks. Transformer balanced rear mounted bypass switch. Large indented input Drive controls. Indented Output Controls Specially selected or military type valves with longer life and low  microphony. Carefully matched 5725 distortion valves. 

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

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.

The Culture Vulture Super 15 also showcases several inspired new features. The Drive switch has three positions with a +10dB option sitting squarely between ‘Normal’ and ‘Overdrive’, enabling users to make their sounds ‘a little more crunchy’ with increased brightness. Meanwhile, the Drive knob now goes all the way up to 15, rather than the decidedly more conservative Spinal Tap-favoured 11! The Function switch now offers further enhancements including special dynamic tunable mid-lift in the P positions and extra drastically-processed harmonics in the SQ positions. The new unit also has a two position Presence switch, as featured on Thermionic Culture’s popular Solo Vulture product. The Output Level controls have a -10dB attenuator which can be used in conjunction with Drive +10dB for comparison purposes or just to reduce high levels. The module’s line plus DI inputs are balanced while the line plus low level outputs are unbalanced. Five NOS military-grade valves are utilised for long life, low noise and enhanced performance, mirroring The Culture Vulture Mastering Plus        Features  Warm sounds gently or create a noise like a 200 watt guitar stack with all the drivers slashed.Independent channel operationOdd or even harmonic distortion, or combination of both.All valve design free from solid state additives.High impedance line input or instrument inputs.4 & 7 kHz filtersOverdrive & bypass switchesTransformer balanced inputs & outputs on stereo jacks.Transformer balanced rear mounted bypass switch.Large indented input Drive controls.Indented Output ControlsSpecially selected or military type valves with longer life and low  microphony. Carefully matched 5725 distortion valves.​​

A new version of the Phoenix soft knee stereo valve compressor, the Phoenix Standby: new features include a standby switch which is provided to extend valve and capacitor life. When in 'standby' the HT current through the valves is only 50% of the normal value. The zero level meter adjusters have now been front to the front panel to make calibration easier and to avoid having to take the unit out of the rack.The Phoenix is a twin channel 'vari-mu' device. Compression ratio starts low and increases gradually so that compression can be subtle and natural, but compression effects can occur when driven hard. Very low noise. Continuously variable controls for Gain, Attack, Release, Threshold and Output Level. Stereo link for compressing a group (eg. drums) or a complete mix.The Phoenix enhances vocals & individual instruments by being unobtrusive, gently 'warming' sounds and making solos sound more powerful. ItΉs impressive on overall mixes & can give a digital mix 'reality'. ItΉs also excellent for compression effects. Try drums with a 'thump' attack (i. e slowest) & fast release.Key Features All valve design for greater presence and naturality.Completely free from solid state additives.Transparent compression.Punchy when pushed.Drive it hard for compression effects and distortion.Absolutely flat frequency response over entire audio range and beyond.Minimal phase shift giving a crisp and warm sound.

The P38 is a stereo mastering and record production compressor with advanced optical compression, in a substantial 2U rack mounting format. It has balanced line inputs operating at line levels.        FEATURES Soft clip function Stereo width control Transient release control Switchable input/output metering 4 position model switch Balance control Ultra gain switch

The P110 is a new microphone amplifier/compressor combination for studio recording of real sounds. The TFPRO P110 is a specialist single channel preamplifier, phase shifter, compressor and equaliser with advanced analogue features. It is designed to be a perfect tool for voice recording and ‘tracking’ in the studio.It’s no secret that the secret to voice recording is attention to detail…. But it’s essential to have the quality there at all stages, especially right at the beginning, in the studio, when the original voice is recorded. The mic amp is not ‘life or death’, it’s much more important than that!  The new P110 has transformer inputs of course, it uses multiple stages of amplification so that gain is kept low and the transient distortions that occur in most audio amplifiers are eliminated.  The vital compressor, essential for glueing the sound together, is optical and the EQ section is a tried and tested design using discrete amplifiers. Although it’s new, the P110 behaves like an old friend, adaptable, comfortable and easy to use. Developed from the very successful P10, it’s a new classic, a sure way to produce sounds with body and presence in a digital world.

There is nothing quite like a transformer for an input buffer, it’s the perfect isolator and it eliminates the need for electrolytic capacitors at the audio input. The P10 uses a substantial UK made transformer, but because of the novel design of the current mode input stage, the transformer operates with predominantly current. With almost zero voltage there is no possibility of overload or distortion at the input, so the input stage can handle ourageous levels with no distortion, even at very low frequencies.        FEATURES Individual channel vari-phase 4 position model switch Switchable input/output metering Luxuriously warm sweepable EQ Separate ‘linked’ stereo compressor

The Weiss 102 Series split band De-Esser is one of the mastering industy's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the Gambit DS1, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity.In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control. Presets keys let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there.Two banks of factory presets are given, de-esser type and compressor/limiter type. Monitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals. Bandsplitting: When touching "bandwidth" or "frequency", the soft keys will select which type of band (low, mid, high).The LEDs above the frequency knob show the current status. Frequency knob selects the corner / center frequency. Attack, Release etc.: Attack, release delay and release fast/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time. Soft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold. Gain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.

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.

An Industry-standard Mastering ToolThe Variable Mu Mastering Version is the perfect addition to any professional mastering facility. In fact, since its introduction, it's quickly become an industry standard mastering tool - and it's the limiter/compressor responsible for an incredible amount of hit records over the last decade. The Manley Variable Mu Mastering Version's detented switches let you easily dial up or log favorite settings. Likened to "pouring a bowl of sweet cream over a mix," if you're looking for the ultimate in mastering weaponry for your pro sound armory, you'll find it in the Manley Variable Mu Mastering Version.Behaves much like the vintage Fairchild 670The Variable Mu uses a compression/limiting technique similar to the beloved vintage Fairchild 670. As "mu" means gain, the Variable Mu Mastering Version offers true variable gain by constantly re-biasing the unique 5670 dual triode at the center of the peak-reducing and compression action, allowing the tube to smoothly change its gain. The Variable Mu Mastering Version offers a soft-knee 1.5:1 compression ratio while its limit mode is sharper knee, starting at 4:1 and moving to 20:1 when limiting over 12dB. The knee softens the more limiting is used. To achieve more sounds, you can creatively use distortion by turning up the input and turning down the output while minimizing your use of compression.Premium switches, for logging and recalling settingsUnlike the standard Variable Mu, which uses smooth-moving pots, the mastering-dedicated Variable Mu Mastering Version offers detented steps. This way, you can easily log your settings or recall them. The steps are built with 1% metal film resistors on sealed gold-contact Grayhill switches. Features:Detented steps using 1% metal film resistors on sealed gold-contact Grayhill switchesManley input & output transformers with pure nickel laminations in mu-metal case with flat frequency response20Hz-25KHz frequency responseBalanced Inputs & OutputsFully differential all-tube circuitry using one each 5670, 5751, 7044, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire Bypass switchSilent conductive plastic input attenuatorRecovery 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec. (Not a 12-step recovery)Variable Attack: 25msec-70msecContinuously variable ThresholdSwitch for Limit or Compress modesFront-panel mounted Meter AdjustLimit (4:1 to 20:1) or Compress (1.5:1)Large Illuminated Sifam MetersStereo Link SwitchMaximum gain: 35 dB

Warm Audio's WA76 set its target high: the most iconic solid-state limiting amplifier in history. How does Warm do it? Through economies of scale, mostly. They don't cut corners on components (the WA76 employs genuine US-made Cinemag transformers), but they do order parts and build in quantity, which keeps costs down. Like the classic unit, the WA76 gives you a completely discrete signal path and the same arrangement of controls. And yes, it replicates the original's explosive performance when all the ratio buttons are pressed. Elevate your studio to the next level - with the Warm Audio WA76.What can the WA76 do for you?Every studio needs a good limiter, and the Warm Audio WA76 is designed after the mother of all limiters. With its lightning-fast response time and pristine, all-discrete signal path, the WA76 is your go-to device for everything from subtle, transparent dynamics control to full-on brickwall limiting. It's fabulous on bass, kick drum, vocals - you name it. It's a must-have for punchy parallel processing on drums, and if you have two of them, the possibilities become even greater.Top-tier performance - and a stunning valueAt this amazing price, you can double your value and get two. With a pair of these in your rack, you can make that stereo piano sit proud in a thick track. Punch up your toms. Strap them across your stereo bus for some mastering magic, and juice your mix with serious slam factor.Warm Audio WA76 Limiting Amplifier Features:Class A line-level output amplifierInspired by the sought-after D revision of the iconic solid-state limiting amplifierCompletely discrete signal pathUtilizes US-made Cinemag input and output transformersSupports the famous all-buttons-in ratio settingUltra-fast attack time; 55db of gainInput impedance is 600 ohms, bridges-T control (floating)20Hz to 20kHz (+/-1dB) frequency responseXLR and TRS inputs and outputsLess than 0.4% total harmonic distortion from 50Hz to 20kHz with limitingSignal to noise ratio is greater than 74dB at +25dBmEquivalent input noise (EIN) is -104.1dBmAttack time is 20 microseconds to 800 microsecondsRelease time is 50 milliseconds to 1 secondMeter provides dB gain reduction and dB outputInternal power supply and an external 24-volt AC power transformer (included)2U, 19" rackmount chassis1-year warranty 

The Avalon VT737 SP Tube Voice Channel, delivers impeccable clarity with tube warmth and presence for your mic, instrument or line mono channel.The Avalon VT737 SP Mono Mic Pre/Compressor/EQ is a combination tube preamp, opto-compressor and sweep equalizer, with output level and VU metering in 2 rackspaces. Balanced mic, front-panel instrument DI, and balanced line inputs. Class A preamp uses 2 cascaded, dual vacuum-tube triodes configured with minimum negative feedback. The Avalon Vt 737sp has a high-gain switch, high-pass filter, and hardwire relay bypass..The main features of the Avalon VT737 SP include: Tube preampOpto-compressorSweep equalizerOutput level controlVU meteringBalanced mic input, front-panel instrument DI, and balanced line inputsHigh-gain switchHigh-pass filterHardwire relay bypass The main specifications of the Avalon VT737 SP include:Circuit topology: 4 dual triode vacuum tubes (Sovtek 6922), high-voltage discrete Class AGain Range Microphone: Transformer balanced 850/2500 ohm, 0dB to +58dB Instrument: Unbalanced 1 meg ohm, 0dB to +30dBLine: Balanced Class A 20k ohms, -27dB to 28dBMaximum input level and connector types: Microphone26dB@25Hz, +30dB@1kHz balanced XLR Instrument+30dB unbalanced front panel jack socketLine +36dB balanced XLRMaximum output level: +30dB balanced 600 ohms, DC coupled, discrete Class AOutput type and gain: XLR connector, output trim gain -45dB to20dBNoise 20kHz unweighted: -92dBNoise microphone EIN: -116dB, 22Hz-22kHz unweightedDistortion THD, IMD: 0.5%Frequency response -2.5dB: 10Hz-120kHz input filter includedFrequency response -3dB: 1Hz-200kHz line in-outVU meter and gain reduction: High quality illuminated OVU =+4dB and gain reduction to -20dBHigh cut filter: Variable 6dB per octave 30Hz-140HzCompressor type: Optical passive attenuator incorporating twin vacuum tubes and stereo linkThreshold - Ratio: Threshold variable -30dB to +20dB, ratio-compression variable 1:1 to 20:1Attack - Release: Attack variable 2mS to 200mS, release variable 100mS to 5 secondsEqualizer type: Discrete Class A, variable active and switched passive designFrequency bands (4): Treble - switched 10kHz, 15kHz, 20kHz, 32kHz, +/-20dB range, shelf High mid - variable 200Hz-28kHz and 2kHz -28kHz, +/-6dB range, hi-lo Q Low mid - variable 30Hz-450Hz and 300Hz-4k5Hz, +/-16dB range, hi-lo Q Bass - switched 15Hz, 30Hz, 60Hz, 150Hz, +/-24dB range, shelfAC power: Internal toroidal 100v to 240v, 50-60Hz selectable, 75 watts maximumDimensions: 19 x 12 x 3.5 in (482 x 305 x 89mm)Weight: 22lbs. (10kg)

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

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

Warm Audio's WA-2A set its target high: the most iconic tube compressor in history. How does Warm do it? Through economies of scale, mostly. They don't cut corners on components (the WA-2A employs a custom optical photocell and genuine US-made Cinemag transformers), but they do order parts and build in quantity, which keeps costs down. Like the classic unit, the WA-2A gives you a completely discrete signal path and the same arrangement of controls. And yes, it replicates the original's coveted warm sound and forgiving nature. Elevate your studio to the next level - with the Warm Audio WA-2A.What can the WA-2A do for you?Every studio needs a good compressor, and the Warm Audio WA-2A is designed after the mother of all compressors - the legendary LA-2A Leveling Amplifier. With its euphonic, fluid, forgiving sonics and all-discrete, all-tube signal path, the WA-2A is your go-to device for everything from caressingly warm dynamics control to full-tilt squashfest. It's fabulous on bass, kick drum, vocals - you name it. It's lovely for punchy parallel processing on drums, and if you have two of them, the possibilities become even greater.Top-tier performance - and a stunning valueAt Sweetwater, we're all about performance and value, and that's what the WA-2A gives you. At this amazing price, you can double your value and get two. With a pair of these in your rack, you can make that stereo piano sit proudly in the track. Punch up your toms. Strap them across your stereo bus for some mastering magic, and fortify your mix with serious slam factor.Warm Audio WA-2A Features:Faithful re-creation of the iconic LA-2A Leveling Amplifier in a 2RU chassisCompletely discrete, all-tube signal path:Historically accurate 4-tube circuitUS-made Cinemag input and output transformersCustom optical photocellWarm Audio's 1-year warranty   

The Studio Channel is a professional channel strip combining Class A tube preamplifier, VCA-based compressor and three-band parametric equalizer perfect for the professional and project studio. Great for all types of microphones, instruments, keyboards and synths, the Studio Channel has the sonic power and flexibility to achieve any tone you can dream of – luscious in your face vocals, crystal clear acoustic guitars, fat solid bass guitar, dynamic acoustic piano, cracking snare, punchy bass, huge MPC tracks and more.Enhance your signal pathThe Studio Channel noticeably outperforms preamplifiers that are built-in to most recording interfaces and affordable mixers. Add a VCA-based compressor and studio-grade equalizer to the class A tube preamp and you get not only big fat tube tonality but also complete control of your tone and sounds. Since much of the recording process is accomplished one track at a time, you need a signal path that can deliver a variety of high quality tones and sounds, which is why the Studio Channel is the perfect tool for any studio.Class A Tube PreamplifierThe Studio Channel has everything needed to deliver big tone. The preamplifier stage of the Studio Channel is based on the award winning BlueTube preamplifier with a high output 12AX7 vacuum tube operating on voltages double than all other preamplifiers in its class delivering high headroom and big tone. Dual control Gain and Tube Drive enables a wide range of sounds from transparent and clear to edgy and overdriven.Full Featured VCA CompressorThe compressor in the Studio Channel is a fully variable ultra-fast and smooth VCA-based circuit with all of the controls needed for a wide range of compression settings: ratio, threshold, attack, release and gain make up. The VCA-based compressor is known for musicality as well as ultra fast attack with the ability to tame the fastest transients. From slap bass, to snare drum, to vocals, the Studio Channel’s compressor stage allows you to record as hot as needed without clipping giving you total dynamic control.Three Band Parametric EQThe equalizer in the Studio Channel is like a Swiss Army pocket knife, with the ability to carve out unwanted frequencies as well as tailor your tone to enhance your sound. The custom-designed amplifiers in the EQ deliver sweet-sounding gain/cut for ultra smooth highs, deep solid lows and clear midrange. The mid-band of the EQ section has variable Q for controlling the width around the center point of the selected frequency. High and low frequency bands give you the option for selecting peak/dip or shelving frequencies.