Heritage Audio

50 Years Of Analog Design In One Rack Space. Introducing the Heritage Audio BritStrip — the culmination of 50 years of analog design in a single rack unit. Britstrip nails the sound of yesterday’s iconic recordings for today’s demanding engineers. The BritStrip combines a real-deal 73 mic preamplifier, an expanded 73 equalizer, a discrete Class-A DI, and the infamous diode bridge compressor from the Heritage Audio Successor. The closest equivalent of the BritStrip would be chaining together a 73JR, 73EQJR and mono Successor — a $3000 value pack in itself, with added routing flexibility. The Mic Preamp That Meets All The Demands. The BritStrip starts with the same preamp as our 73JR, with a new custom input transformer co-designed with Carnhill and exclusively made for HA in the St Ives factory.. The preamp also features a custom Carnhill St Ives output transformer, which completes it’s all discrete, Class-A, 3-gain stage design. The preamp features 80 dB of gain, 20dB pad, phase reversal and an impedance switch for 1200 or 300 ohm input. The Discrete Class-a Di The DI is also taken from the highly acclaimed design found in the Heritage Audio 73JR, an all-discrete Class-A JFET circuit in front of the microphone transformer, giving you all of the color and weight you could ask for. The DI also includes a passive thru output to feed a separate amplifier. An Expanded 73 Equalizer. The BritStrip eq features 3 Vinkor pot core inductors in the mid band and high pass filter sections. The impact is hard to believe with extreme boosts being exceptionally musical. The mid band is great for sculpting fat and punchy snare, kick, guitars, vocals — you name it! No need to be subtle like you would with most eqs — BritStrip doesn’t sound phasey or loses headroom in extreme settings. The inductor-based low-pass filter, directly taken from the 73 design, lets you control out of range low end — without affecting the quality of your desired frequencies. The high and low shelves have been extended to include a bell mode — making them more versatile than ever before. A Successor-Like Compressor The diode bridge bus compressor needs little introduction, as it’s the same compressor found in the multi award-nominated Heritage Audio Successor. Diode bridge compression, a 60 year old patent, took on a whole new life with the expanded features and incredible fast attack/release times of the Successor. With BritStrip, this powerful compressor design is perfect to use for tracking, thanks to it’s blend control and elaborate sidechain filter. This gives you plenty of tracking potential, as you can give instruments that “record-ready” dynamics as performers monitor — giving them a finished “real-time feel” as they perform. The compressor section provides plenty of sidechain flexibility, with 5 frequency options, and an external sidechain input. And if that weren’t enough flexibility, 2 BritStrips can have their compressors linked for the ultimate stereo tracking solution. Routing Flexibility The BritStrip allows for compression and equalizer routing. Eq’ing pre-compression makes the compression detector more sensitive to the boosted frequencies and less sensitive to those cut. Inversely, eqing post compression makes the detector insensitive to the eq settings.

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

The best of both worlds. Introducing Heritage Audio’s HA-81A: a new mix of 2 classic console´s circuits. The HA-81A Elite is a channel strip that combines an all discrete, Class-A 73-style mic preamp with an extremely versatile and musical console style equalizer — arguably the trick for obtaining instant classic sound for all recording engineers. The mic preamp that meets the demands. The HA-81A’s preamp section is an 80 dB, all discrete Class-A design with Carnhill/St. Ives input and output transformers, exactly the same one found in the other Elite Series modules. The preamp features gain, output trim, -20db pad, polarity reverse, and +48v phantom power. The best console´s style equalizer ever made. The HA-81’s equalizer section is an exceptionally musical 4 band, inductor-based equalizer with high and low pass filters. Where 3 band equalizers such as the typical 73-style exceed at musicality but may get short of features, the HA-81A EQ equally excels on both. Extreme control over Shelf or Bell response curves on the high and lows, dual Q on both mid bands, with dedicated high and low mid ones, and a range of 40 frequency selections to choose from. Hybrid design. Heritage quality. The Heritage HA-81A utilizes only rotary switches and precision, concentric potentiometers. And like all of the products in our Elite range, the HA-81A is built with the most cutting edge methods in manufacturing and design, without ever compromising audio quality or cutting corners — all at the Heritage headquarters in Spain.

Our Frame 8 rack is handmade in the EU employing the same exact ISEP mechanical components used in the Series 80 consoles. Aluminium rails, guides, etc. This will ensure your vintage modules, as well as any of the currently made, will fit like a glove. Every channel has its own output control as well as illuminated phantom switch. Also, the Frame 8 is ready for linking up to 8 2264 compressors in 2 busses, A or B. Back panel features Neutrik gold plated XLR connectors for Mic and Line inputs, as well as outputs. External Power Supply Unit is connected via Neutrik gold plated 4-pin XLRs. It is configurable for 220-240v or 110v. Power supply is included.

The 8173 module is a Heritage Audio´s new design, which has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. It is also compatible with the Heritage Audio Frame 8 and Rack 2 powered enclosures. The 8173 could be easily described as a 1073 with the mid bands of a 1081. We´ve decided to keep the 1073 Baxandall shelving lo and hi eq bands as they sound amazing, but have implemented a choice of 3 hi shelving frequencies, a la 1084. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements. The Heritage Audio 8173 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. All its circuitry is held into five plug in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for lo gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

The Heritage Audio 2264E compressor limiter is a diode bridge based dynamics module, engineered to be used in the restoration process of vintage 80 Series consoles. It can also be installed in the Heritage Audio Frame 8 and Rack 2, where there is provision for linking up to 8 units in 2 different buses. It is fully Class A, including the same output stage found in the HA1073, which reacts in a much nicer way to compression than class A/B amplifiers. It is completely handmade and wired in the same fashion as the rest of the Heritage Audio 80 Series modules. Specifications: Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, 600 Ohms terminated. Maximum output: Greater than +26dBu, 600 Ohms terminated. THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz, at no gain reduction. Frequency response : 20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: 20dB. Maximum Power consumption: Less than 120 mA @+24VDC.

The  6673 module is a Heritage Audio´s new design which has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. It is also compatible with the Heritage Audio Frame 8 and Rack 2 powered enclosures. The 6673 is a 4 band equalizer in a 1073 sized module, combining the mid band of the vintage 1066 module and an expanded 1073 mid band. This fact allows a more complex equalizing whilst at the same time maintaining the same sonic qualities. Vintage connoisseurs already know how sweet the 1066 mid band sounds and how well it complements the 1073´s one. Additionally the 6673 features three frequency´s options for the high shelf, as opposed to the fixed ones on both the 1073 and 1066, covering both. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements. The Heritage Audio 6673 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. All its circuitry is held into five plug in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for lo gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

The Heritage Audio 1084 has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. It is also compatible with the Heritage Audio Frame 8 and Rack 2 powered enclosures. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements. The Heritage Audio 1084 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. All its circuitry is held into five plug in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for low gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

The Heritage Audio 1073 has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. In case outboard fitting is preferred, the HA1073 can be installed into the Heritage Audio Frame 8 and Rack 2 powered enclosures. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and polypropylene film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements, which ensure correct harmonic distortion content and saturation points. The Heritage Audio 1073 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. Manufacturing a single module takes several days of one of our master builders. All its circuitry is held into four plug-in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for low gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.