Thermionic Culture

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.

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

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.