Mic Preamps

Eight-channel mic preamp with discrete transistors, analog gain, 48V phantom power, PAD, phase inversion, high-pass filter, ADAT optional, 192kHz, robust and sleek designThe SPL P8 is a high-end, eight-channel microphone preamplifier designed to offer pristine audio quality for multi-channel recording. Each of the eight preamps is built with discrete technology, ensuring a signal path free from integrated circuits (ICs). This design, utilizing individual transistors, is tailored for audiophiles and professionals who prioritize sound purity, contributing to the unit's open and transparent sonic characteristics. The preamplifiers provide a flexible gain range from +8 dB to +62 dB, making the P8 suitable for a wide range of microphones, including those requiring higher gain.Key features include individual controls for each preamp, such as a 48V phantom power switch for condenser microphones, a 20 dB PAD for handling loud sources, a high-pass filter to eliminate subsonic noise, and a phase inversion function. For digital workflows, the P8 can be equipped with an optional eight-channel ADAT converter, allowing seamless connection to digital audio interfaces. This versatility makes the P8 ideal for both analog and digital recording environments, delivering unparalleled audio performance while maintaining ease of integration into various studio setups.FeaturesEight Preamplifiers: Equipped with eight discrete microphone preamps for high-end sound quality.Gain Control: Adjustable gain from +8 dB to +62 dB for handling various microphone types.Phantom Power: Each channel has switchable 48V phantom power for condenser microphones.Signal Processing: Includes PAD switch (20 dB reduction), high-pass filter, and phase reverse for each preamp.Analog & Digital Outputs: Offers both analog outputs and an optional ADAT digital output for direct digital connectivity.Durable Build: Features a robust aluminum and steel construction for long-lasting use.

SPL Pre One OverviewEnjoy the open and transparent sound of the SPL Channel One Mk3 in a compact, dual-channel preamp with the Pre One, a desktop unit with two discrete preamps. With a wide gain range of 8 to 62 dB and optional Hi-Z instrument input, you can draw out the full glory of nearly any input source, from condenser mics to passive instruments.Each preamp features an independent 6 dB per octave high-pass filter for subsonic rumbles, switchable 48V phantom power, and a 180° polarity reversal switch. Each preamp features a selector, so you can choose Flair or Contour, analog EQ presets, and on the rear panel, you have a channel-selectable -20 dB input pad for overly hot signals. Each preamp features a balanced XLR 3-pin mic input and its own dedicated 1/4" TRS balanced output. Preamp 2 also includes a 1/4" TS instrument input (which automatically deactivates the mic input on preamp 2). This design allows the Pre One to process stereo signals if desired. Like all SPL products, the Pre One is manufactured in Germany.Gain ControlThe gain control can be used to adjust the preamplification. The control range ranges between +8 and +62 dB, so even truly demanding microphones can unfold their full potential. Each preamp gets its own large gain control knob. A green signal LED is provided for both preamps to indicate that a signal is present.Switchable FunctionsA high-pass filter with 6 dB per octave is available in both preamp sections and reduces subsonic noise below 80 Hz when activated. This low-cut filter can be used for the microphone inputs as well as for the instrument input on the second amplifier.Both preamplifiers have a 48V switch. This switch activates the required phantom power of 48 volts for the use of condenser and active dynamic microphones. The phase reverse function reverses the polarity of the signal. After pressing the switch, the phase is reversed by 180°.Perfect Sound with Flair and ContourFor each of the two preamps, Flair and Contour provide an analog EQ preset to perfect the sound. When Flair is activated, it gives the signal a beautiful range of high frequencies; silky highs is the key word here. When Contour is activated, the signal perfectly blends into a compact mix while retaining its natural presence and strength.Input PadThe pad switches for each preamp section are located as DIP switches on the rear of the Pre One. These switches attenuate the signal of the microphone input by 20 dB, so that even very high levels can be processed with the Pre One. This is the case, for example, with loud percussion or brass recordings.Power SupplyGood sound always starts with the power supply. This is where you lay the foundation for the performance of the entire device. Although SPL supplies a 12V plug-in power supply unit, the secondary power supply inside generates a voltage level of +/-17V for the analog audio sections with which professional levels of up to 22.5 dB can be achieved. Elaborate low-drop operating-voltage regulation provides more juice and regulates cleanly even when the maximum operation voltage is reached.In the BoxSPL Pre One Dual-Channel Microphone Preamplifier (Black)12V Power SupplyLimited 2-Year Manufacturer WarrantyKey FeaturesFor Studios and AudiophilesTwo Discrete, Transparent PreampsMic and Hi-Z Input on Preamp 2Dual 8 to 62 dB Gain Controls6 dB per Octave HPF per Channel48V Phantom Power and Phase ReversalSwitchable Flair and Contour EQ Presets-20 dB Pad per Mic InputSeparate 1/4" TRS Line Out per PreampMade in Germany

BAE 1028 Mic Pre and EQ Pair with PSUThe BAE 1028 is a mic preamp with 3-band EQ inspired by the legendary 1073 with extensive additional frequencies.The BAE 1028 Mic Pre and EQ (Pair) uses the exact same mic and line preamp as the 1073 with Carnhill (St Ives) Transformers to give the true vintage tone associated with this legendary preamp.In addition the 1028 features no less than 28 frequencies including the same Low pass filter found on the 1084 module. The additional frequencies are located in the mid-bell and high shelf bands with frequencies selected to allow for greater flexibility with the mid bell able to play against the low and high shelves for rich, flexible and musical tonal shaping capabilities.FeaturesInspired by the legendary 1073Class A transformer-coupledHand-wired, all-discrete using modular cardsThree-band with HPF28 total frequency points with mid band overlappingExtended selection for high frequency shelvingHigh quality Swiss-made Elma® rotary switches

BAE 1073 Single Channel Mic Pre / EQ W/power supplyThe BAE 1073 is as authentic as you can get to the original, featuring the same St Ives (Carnhill) transformers as the vintage modules, Elma switches and Canford wire.The BAE 1073 looks identical to the original vintage module and will happily retrofit in vintage Neve 80 Series consoles because the entire product is engineered in exactly the same way as the originals: the same chassis construction, connectors, printed circuit board layouts, hand-wired looms, and circuitry.Features of the BAE 1073 Single Channel Mic Pre / EQHigh Frequency: +/-16dB fixed frequency shelving at 12kHzLow Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220HzMid Range: +/-18dB peaking, fixed ‘Q’ with, selectable centre frequencies of 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz & 7.2kHzHigh Pass Filter: 18dB per octave slope, switchable between 50Hz, 80Hz, 160Hz & 300HzIncludes BAE 24V PSU to operate.The power supply can run 2 units simultaneously thats why units are sold separately.

BAE 1073 Mic Pre / EQ Pair with PSUThe BAE 1073 is as authentic as you can get to the original, featuring the same St Ives (Carnhill) transformers as the vintage modules, Elma switches and Canford wire.The BAE 1073 looks identical to the original vintage module and will happily retrofit in vintage Neve 80 Series consoles because the entire product is engineered in exactly the same way as the originals: the same chassis construction, connectors, printed circuit board layouts, hand-wired looms, and circuitry.Features of the BAE 1073 Mic Pre / EQ Pair with PSUHigh Frequency: +/-16dB fixed frequency shelving at 12kHzLow Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220HzMid Range: +/-18dB peaking, fixed ‘Q’ with, selectable centre frequencies of 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz & 7.2kHzHigh Pass Filter: 18dB per octave slope, switchable between 50Hz, 80Hz, 160Hz & 300Hz

The TK Audio DP3 is a versatile, hybrid-design stereo mic preamp that includes vintage and modern circuits to deliver a broad range of creative tonal options. With the DP3, you’ll get the mid-range germanium crunch of the mid 60s; the low-mid punch and thick sound associated with British Class A preamps from the early 70s; and the more modern tones of the 80s and 90s. Get vintage color, modern transparency, or even something in between — all in one rack space.TONS OF TONESWhile the DP3 includes TK’s proven input stage and germanium circuit from the DP2, we’ve also incorporated a new saturation circuit that — together with the vintage Class A stage — gives you a broad palette of character choices. The input stage is designed around a high quality Swedish Lundahl transformer and high gain stage, followed by selectable saturation and germanium circuits for even more color and harmonics. Instead of switching output stages, as was done in previous models, the Class A stage is now inserted in front of the Output level control, letting you drive the transformer harder without overloading your A/D converters while making the output less sensitive to different impedances. The Class A stage uses a heavy, custom-made Carnhill transformer that produces a fat, punchy sound with mid-range character and a warm top end.IDEAL FOR COLORFUL DI RECORDINGThe Hi-Z direct mode function bypasses the input transformer and input stage, and sends the instrument signal directly to the high-pass filter and the selectable saturation and germanium circuits. The dedicated Hi-Z instrument input has a separate activation switch, so you can leave your instrument connected all the time! Direct mode gain is +14 dB, which is perfect for bass recording together with the Class A stage. The sweepable high-pass filter goes from 30 Hz to 400 Hz for precision crafting of the low end.FEATURES:Stereo microphone preamp with vintage and modern circuitsHi-gain input stage with up to 80 dB of gainSelectable vintage Class A stageLundahl and Carnhill transformersSelectable germanium and saturation circuits for more color and harmonicsSweepable high-pass filter, 30-400 Hz, 12 dB/octaveInstrument input with 2 Mohm impedanceOutput level placed after Class A stageHeadroom meter with eight LEDs

Whether you play guitar, bass, keyboards or another stringed instrument, you'll need a direct box that won't diminish your instrument's tone, like the Direct Box Active and Direct Box Passive from Warm Audio.  Built around world-famous CineMag USA Transformer topology and engineering, like no other DI Boxes in the world. Constructed with top-tier discrete components housed in rugged aluminum chassis' that include switches, knobs and connectors that are all designed to withstand heavy abuse on the road or in the studio. Made With USA Custom CineMag Transformers Every aspect of our direct boxes are designed for maximum sonic integrity, from the custom-wound CineMag USA transformer to the rugged metal knob and switches.  You can expect warm, rich tone even after long cable runs, and the extruded aluminum enclosure ensures a long life span.  When you need to convert an instrument-level signal to mic-level, with sonic quality as your top priority, you'll be well-served with the Direct Box Active and Direct Box Passive from Warm Audio. New DI Box Experience Warm Audio DI boxes offer the rare versatility of having an onboard variable pad knob which attenuates your input signal all the way from -3dB to -30dB, which will easily tame any instrument input source. Both of our Direct Boxes offer a Thru-put jack that is jumpered to the input jack. It is a convenience jack allowing you to send your instrument's signal to a second place in addition to the live mixer or recording device. Our Direct Boxes can also take a recorded signal at line level and send it to another line input while simultaneously sending signal out of the XLR mic level output of the Direct Box. Typical Applications For A DI Box Connecting electronic instruments such as guitar, bass, keyboard, or drum machines directly to a PA or recording system. Simply put, a DI box converts the high impedance, unbalanced output signals to low impedance, balanced output signals. By doing so, the instrument signals are now converted to the proper voltage level for the PA or recording system - which greatly reduces and/or eliminates connections which could cause tonal shifts and distortion. Passive Or Active? Direct Box Active is best for instruments with passive pickups, especially acoustic instruments.  The Direct Box Active can also operate in "passive" mode. Direct Box Passive is best for balancing the signal of instruments with active electronics, but still performs extremely well on passive pickups by producing a frequency range that exceeds the bandwidth of most passive DI boxes on the market. Passive Specifications CUSTOM-WOUND CINEMAG USA OUTPUT TRANSFORMER CONVERTS INSTRUMENTS TO MIC-LEVEL SIGNALS WITHOUT SIGNAL DEGRADATION IDEAL SOLUTION FOR PLUGGING YOUR INSTRUMENT DIRECT INTO ANY MIC PRE TOP-QUALITY CLASS A COMPONENTS WITH GOLD-PLATED TRACES ON CIRCUIT BOARD RUGGED ALUMINUM CONSTRUCTION PAD: VARIABLE FROM -3DB TO -30DB BALANCED OUTPUTS: 600 OHMS, MIC LEVEL INPUT IMPEDANCE: 1 MEG OHMS  THD: .01% FROM 20HZ TO 50HZ. LESS THAN .003% FROM 50HZ TO 20KHZ FREQUENCY RESPONSE: 10HZ TO 90KHZ +/- 0.5DB

Classic British Console Sound on a BudgetThe Pre 73 MKIV is Golden Age Audio’s latest and greatest update to their best-selling ‘73-style preamp series. The spirit of classic British consoles lives on in the Pre-73 MKIV, and it sounds warm, punchy, sweet, and musical. Use it to add tone and color to your favorite mics, or keep things clean; it also doubles as a line-level preamp and DI box for electric guitar and bass. Get classic console tone—and get the most out of your mic locker.Classic console color—if you want itGet vintage color and punch by cranking up the Gain knob without fear—a dedicated Output control lets you attenuate the signal so you can drive the preamp without overloading your interface inputs. Engage the -14dB pad for even more control of hot signals, or keep things clean and transparent by backing off on the Gain and turning up the Output. Further sculpt your tone via the selectable low-pass filter to eliminate unwanted low-end rumble at the source, and use the selectable top-end Air EQ to add some shimmer and presence to your top-end. Use the Low-Z switch to toggle between 1200 or 300 Ω resistance and hear how your mics react!Connect to anythingThe Pre-73 MKIV’s switchable +48v mic input lets you use both condenser and dynamic microphones, while its 80 dB of Gain make it ideal for use with sensitive ribbon microphones on delicate sound sources. Line- and instrument-level inputs allow further connection to nearly any audio source, and you get an Insert jack for using external processors like EQs and compressors. You have your choice of TRS or XLR out.Quality firstTrue to classic preamps of yesterday, the Pre 73 MKIV was designed with a focused attention to component choices and build quality not found in other preamps near the same price. No surface-mount components or integrated circuits are used, and all inputs and outputs are transformer-balanced, using two different purpose-optimized transformers. Its external power supply eliminates the risk of self-noise, and its metal half-rack chassis is both sturdy and portable.

The PURE DRIVE QUAD harnesses Solid State Logic's renowned SuperAnalogue PureDrive™ microphone preamp technology, originally featured in the ORIGIN console. This advanced unit introduces a new DRIVE mode, comprehensive connectivity, and state-of-the-art digital conversion, all within a compact 4-channel 2U rackmount format. The ORIGIN recording console, a contemporary-classic from SSL, first introduced the groundbreaking PureDrive™ microphone preamplifier. This innovative preamp maintains the clarity and punch of SSL's previous designs while also offering the flexibility to switch its character to a warm, harmonically rich, and driven tone that varies with gain.

The PURE DRIVE OCTO harnesses Solid State Logic's renowned SuperAnalogue PureDrive™ microphone preamp technology, originally featured in the ORIGIN console. This advanced unit introduces a new DRIVE mode, comprehensive connectivity, and state-of-the-art digital conversion, all within a compact 8-channel 2U rackmount format. The ORIGIN recording console, a contemporary-classic from SSL, first introduced the groundbreaking PureDrive™ microphone preamplifier. This innovative preamp maintains the clarity and punch of SSL's previous designs while also offering the flexibility to switch its character to a warm, harmonically rich, and driven tone that varies with gain.

Channel One Mk3The perfect front-end for the modern producer.For over 20 years, Channel One has been a synonym for a high-quality and extremely musical recording and mixing channel strip.In the newest Mk3 version, this classic has been thoroughly revised and, in addition to a higher internal audio voltage (now +/-18 V) for even better, more detailed sound, a further improved preamplifier section, an integrated Transient Designer, a Tube Saturation stage and a Mic A/B comparison option for two microphones and other great features that raise the modern recording and mixing studio to a new level of quality. With de-esser, compressor and equalizer, all the important tools of a real channel strip are still on board. Whether it’s a microphone, line, or instrument signal, the Channel One Mk3 makes any source sound like a professionally recorded signal.The new design of the SPL Studio Series perfectly highlights the sonic qualities of this 3rd generation Channel One.Packed with must-have toolsThe SPL Channel One MK3 Premium channel strip packs a wealth of features, including a discrete preamp, 3-band EQ, compressor/limiter, noise gate, and de-esser, making it the ideal front end for your DAW. Plug into this stellar-sounding channel strip and enjoy the world-class sounds that you've heard in your head but have been unable to achieve in your studio. Whether you want to record vocals, instruments, or any other audio source, the SPL Channel One MK3 Premium channel strip will imbue your recordings with the lustrous, expensive sound you've been craving.

Both the 3124V and the 3124MV are designed with the professional engineer in mind. Both units give four channels of the highest possible quality mic preamp. However, the 3124MV provides an additional audio mixer with a transformer balanced output, keeping the unit size and price reasonable. Both models are equally at home in the control room, studio, and recording truck or on stage. The 3124MV utilizes the same microphone preamp circuit that is used in all API consoles. It is equipped with the AP2516 input transformer and the proprietary output transformer found in all API mic pres and throughout the API product line. The unit offers Variable Output Level Control, switchable 3:1 output transformer selection, and an internal 48-volt phantom power supply, which is front panel switchable for each channel. Also provided is a front panel -20 dB pad switch that affects both the mic and line in. A 1/4" phone jack is available on the rear panel for each channel as an insert tip-send/ ring-return placed between the mic pre amp output and the mixer input. Like the 3124V, the 3124MV provides up to 65 dB of gain. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can accept input levels as high as +20 dBu, making it perfect for keyboards and other high level devices. The rear output is an XLR connector. Additionally, the 3124MV adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique stereo aux return control acts to balance the left/right signal, yet staying stereo. It can also be used as a mono return.

The Royer model R-DB22 dBooster2 features two channels of dBooster ribbon & dynamic micro-phone signal boosting and impedance buffering technology. Each channel also doubles as a high-impedance DI.When used as a signal booster, both channels of the dBooster2 increase the level of passive low-output ribbon and dynamic microphones with a minimum of distortion or coloration. Designed for professional applications, each dBooster2 channel offers two levels of clean gain boost: 12dB or 20dB, selectable by a front panel switch.The dBooster2’s Class A input presents a high source impedance to microphones, minimizing loading (damping) and improving headroom. By utilizing the 12/20dB gain switch, optimum balance between gain and headroom can be achieved for a variety of uses.The dBooster2’s low-impedance output is an increased microphone-level signal that can drive a digital interface directly or a standard microphone preamplifier. It also minimizes signal loss on long cable runs.When used as a DI for unbalanced guitar level sources, the dBooster2 provides either 0dB or 8dB of gain, selectable from the front panel switch. The single ended high-impedance (230K-Ohm) DI input maintains headroom and gain regardless of load, with minimal distortion or coloration.RECOMMENDED APPLICATIONSMiking any low-volume sound source (acoustic instruments, vocals, etc.)Recording direct to a DAW interfaceUse on long cable runs to retain sound qualityDI for direct electric guitar, electric bass, and other instruments

Dual-Channel Microphone Preamplifier with 120V technologyCrescendo duo combines the precise sound that German Rundfunk-Technik is famous for with the innovative SPL 120V technology. The internal operating voltage of 120 volts allows Crescendo microphone preamplifiers to break completely new ground. This results in microphone preamps that sound detail-rich, vivid and equally honest.Crescendo duo lets microphones shine in a whole new light – because they have never been amplified like this before.The UndistortableThanks to the SPL 120V technology, it is almost impossible to overdrive this microphone preamplifier.Crescendo duo is a dual-channel microphone preamplifier with 120V technology. Both channels feature the same range of functions. Besides phantom power (48 V) for condenser microphones, polarity reversal, a high-pass filter and a PAD switch, they provide the possibility to adjust the VU meter to display very high levels – so they leave nothing to be desired. The gain can be adjusted comfortably and precisely via a 12-step switch. With the switchable output control, the output level of the Crescendo duo can be perfectly adapted to following AD converters. Two outputs per channel allow the signal to be sent to two different devices in parallel. In addition to the extensive feature set and the outstanding technical characteristics, Crescendo duo convinces with a sonic authenticity that is second to none.The 120V technologyThe 120V technology is our reference technology. The 120V technology is unique in the world. It operates at a DC voltage of 120 volts. This is four times that of IC-based semiconductor op-amps.Sounds goodWith all SPL devices we develop not only according to plan, but also by ear. Many important components are installed on the circuit boards using Through-hole technology. This way we can ensure that we can use the best sounding components.

Eight-Channel Microphone Preamplifier with 120V technologyCrescendo 8 combines the precise sound that German Rundfunk-Technik is famous for with the innovative SPL 120V technology. The internal operating voltage of 120 volts allows Crescendo microphone preamplifiers to break completely new ground. This results in microphone preamps that sound detail-rich, vivid and equally honest.Crescendo 8 lets microphones shine in a whole new light – because they have never been amplified like this before.The UndistortableThanks to the SPL 120V technology, it is almost impossible to overdrive this microphone preamplifier.Crescendo 8 is an eight-channel microphone preamplifier with 120V technology. All eight channels feature the same range of functions. Besides phantom power (48 V) for condenser microphones, polarity reversal and a PAD switch, they provide the possibility to adjust the VU meter to display very high levels. The gain can be adjusted comfortably and precisely via a high-quality potentiometer. Two outputs per channel allow the signal to be sent to two different devices in parallel. In addition to the extensive feature set and the outstanding technical characteristics, Crescendo 8 convinces with a sonic authenticity that is second to none.Built-in Output SplitterAll eight microphone preamps have two parallel outputs each. This allows the signal to be sent to two different devices in parallel. One output each is available as XLR line output. The respective second outputs are available as a DB25 jack. These can for example be ideally connected to a multi-channel AD converter, with the for this kind of device type typical DB25 input. An additional external signal splitter for back-up systems during a recording session is therefore no longer necessary.Perfection in detailThe input differential amplifiers are constructed with pairs of transistors, each of which is combined in a housing. Precise matching of the transistors and thermal coupling ensure high common-mode rejection and extremely low THD values. The choice of transistors and resistors has a decisive influence on the sound. In countless listening sessions the optimal components for Crescendo were selected – the effort paid off!More sound through innovationOur 120V SUPRA operational amplifiers work as current amplifiers, which also offer pure class A operation with over 6 mA quiescent current. We largely dispense with coupling capacitors in order to avoid their sonic disadvantages (diffuse, sloping, loss of dynamics). In order to eliminate DC voltage components active servo circuits are used.

This one is bigger and more kitchen sink-y. This starts with a precision rotary switch gain control, which levels up the audio performance, especially in higher gain ranges (ribbon mics welcome). A 2 position high pass filter gives excellent control of problem bass / rumble areas at 75Hz or 150Hz. A 3-band EQ with sweepable mids rounds out the tone shaping. The FX loop can be defeated by a footswitch and has an onboard blend control to run your effects at 100% and adjust wet / dry amount on the preamp. The input is a combi XLR / 1/4″ jack, so it can run as an instrument preamp like its buddy ALiX .We could keep going, but you get the idea: REX and ROXi are wicked mashups of a mic pre, channel strip and stage preamp. Plop one on your your studio desktop and boom, you have an genuine Grace Design recording channel. Tack one to your pedalboard and you have a Swiss Army knife style stompbox with astonishing audio performance and massive flexibility. Do the Swiss actually give those little red knives to their army? Let us know.SingersA singer can plug their favorite microphone into a Grace Design mic preamp with their own effect pedals in the FX loop and control their reverb, old-timey AM radio or distorted vocal effects however they want. Singers with pedal boards? Your time has come.

This is the little nipper, but don’t judge – we piled up everything we know from 30 years of designing mic preamps, zapped it with our shrink ray and crammed it all into a minty-fresh green BIX style chassis.With bonafide Grace Design mic preamp pedigree, it will give any studio rack preamp a run for its money. But REX is really designed to be velcroed to a pedal board and hit the stage. Simple high and low tone controls, a 10dB boost circuit (sorry FOH), a mute switch, and an FX loop will all help you get your sound dialed. Are you a singer with your own vocal mic and wish you could have that extra studio clarity and presence on stage? REX to the REXcue (ugh). You get the idea.Horn PlayersHorn players looking to expand their sonic palette. Flugelhorn into a wha-wha pedal with distortion and delay? All day. Baritone sax through an octave pedal? Dude.

The Chandler Limited TG Channel MKII is a re-creation of several classic circuits and combines a TG2 preamp section with an equalizer that was redesigned from an equalization circuit used in EMI's TG12410 Transfer console - the mastering counterpart to the original "Beatles desks." The Chandler Limited version has been remade using original design information and circuit board drawings as provided by Abbey Road to ensure extreme authenticity. Chandler Limited even remolded the old TG-style pointer knobs. Inject authentic Abbey Road vibe in your recordings with the Chandler Limited TG Channel MKII.Chandler Limited TG Channel MkII at a Glance:Juice your productions with bone fide Abbey Road vibeSo awesome-sounding, your sound is sweetened just by passing through itSounds like a fine musical instrument - not a modern surgical toolJuice your productions with bone fide Abbey Road vibeCapturing the magic of the original equipment found in Abbey Road Studios - the very same used for Beatles' albums, not to mention Pink Floyd's Dark Side of the Moon, Chandler has brought the sound of the most famous studio in the world to engineers the world over.So awesome-sounding, your sound is sweetened just by passing through itThe preamp section of the TG Channel MKII beautifully replicates the sound of the original, and, to many ears, possibly improves the high-end response. The EQ section provides Pultec-style control over the sound, and, like a vintage unit, the sound is sweetened just by passing through it. The recordings done with the original gear are still reference points for both musicians and engineers. Now you can own the same gear!Sounds like a fine musical instrument - not a modern surgical toolThe active portions of the unit use the same discrete amplifiers and transformers as in the TG1 Limiter and TG2 pre amp. The passive equalizer portion of the EQ is an all inductor design and offers sweet high frequencies with large inductor based lows, and a very high "Q" mid cut section. Designed to sound like a fine musical instrument instead of a modern surgical tool, it's sound is very comparable to Pultec and Lang program EQs but made from TG circuits. A simple description would be a TG Pultec with a TG pre amp thrown in. Gear.Chandler Limited TG Channel MkII Features:Mic Pre and DIControls over input and output levels allows running input hot without overloading the recorderFlexible EQ sectionChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The Chandler Limited Germanium Preamp/DI is a throwback to a time when gear sounded great. Germanium transistors have been used in audio gear including Neve, EMI, Telefunken, and Fairchild for their unique sonic characteristics. It hasn't been used in current gear for a while now, but that all changes with the Germanium Preamp/DI. What make this preamp unique are the gain circuits. The Gain/Germanium Drive control and Feedback control are intricately linked. Gain acts as a standard gain control, but roll up the amount of Feedback and the Germanium Pre realizes its full potential, as well as adding a small bass boost and a tasty high-frequency roll-off. For cleaner tones keep the Feedback on the restrained side, or crank it up for fat guitars and vocals. There aren't any other preamps like the Chandler Limited Germanium Preamp/DI.Chandler Limited Germanium Preamp/DI at a Glance:Outfit your studio with a unique-sounding preampReap the sonic benefits of germanium transistorsYour sonic obsession: Chandler's missionOutfit your studio with a unique-sounding preampThe Germanium Preamp/DI is a cutting-edge design by Chandler Limited designer Wade Goeke that uses classic germanium transistors in all Class A, transformer balanced, circuits. The use of germanium devices opens a whole new sound palate not found in any pro audio equipment currently manufactured. The results are warm and tube-like, with a fat bottom end. Yes, this is the classic vintage coloration we all gush over, and it's yours for the taking - in the Germanium Preamp/DI.Reap the sonic benefits of germanium transistorsSmooth-sounding germanium transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI ( TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium tranasistor. Chandler Limited's Germanium series runs on +40 volt power, high current, and has a huge +34 output before clipping. The sound is warm and smooth as with many vintage style circuits, but you'll find a whole new world of smooth here as well as a sound that settles in perfectly to your tracks without fighting.Your sonic obsession: Chandler's missionRecording engineers are always looking for fresh tonal colors and approaches when tracking - it's an obsession. Chandler feeds this addiction with their innovative take on the technologies of the past. They start with painstaking component selection. The Germanium Preamp/DI's parts list reads like a 40-year-old document. Seriously - they just don't build 'em this way anymore. Hand-wired and assembled in the USA, the Germanium Preamp/DI utilizes 100% discrete transistor circuitry and specially wound transformers. Aside from the fact that you'll have this puppy forever, the weapons-grade build quality is a means to an end - the sound. Glorious, fat, supremely musical sound. Stock your arsenal with a serious weapon - the Chandler Limited Preamp/DI.Chandler Limited Germanium Preamp/DI Features:I/O: XLRDI - Unbalanced jack with 100k input impedanceGermanium Drive controls the input gain of the Germanium ampPad and Thick SwitchesFeedback Control to adjust the amount of signal fed from the amplifier output back to the input10-segment LED VU meter

The Chandler Limited REDD.47 mic preamp re-creates the original tube line amps used in Abbey Road Studios' rare, custom EMI REDD.51 recording consoles. This is the unmistakably punchy, agressive sound that characterized recordings made in Studio Two between 1964 and 1968 - including legendary tracks by The Beatles. Modern features have been added to meet contemporary recording studio standards, such as increased gain that gives you a range of new tonal options, from pristine cleans to rich, classic saturation. Take it from Sweetwater, with its inimitable sonic moxie, the Chandler Limited REDD.47 will work wonders in your studio.Chandler Limited REDD.47 Mic Preamp at a Glance:The workhorse line amp of the REDD.51Enjoy an expanded range of tonal optionsThe workhorse line amp of the REDD.51A critical component of the EMI REDD.51 console (REDD being an acronym for Abbey Road Studios' in-house Record Engineering Development Department), the REDD.47 line amplifier was used in virtually every stage of the audio path, including the mic and line inputs, the echo sends, and the monitors. With its spunky, in-your-face sonics, the REDD.47 lent its unique character to all the music - including every Beatles track - recorded in Abbey Road Studio Two during its mid-'60s tour of duty.Enjoy an expanded range of tonal optionsChandler Limited's REDD.47 preamp gives you added benefits never offered by the original design, including an increased gain range that greatly expands your tonal options. Imagine being able to dial between immaculate cleans and classic tube saturation with up to 2 percent harmonic distortion before clipping! Think of the gnarly, distorted guitars in The Beatles' "Revolution." They were DI'd straight into the board; all that seething mad-dog bite is the REDD.47. And speaking of direct injection, Chandler Limited has thoughtfully included a DI input on the REDD.47 front panel.Chandler Limited REDD.47 Mic Preamp Features:Delivers the legendary sound of Abbey Road Studios' "holy-grail" preampModern features to meet contemporary recording studio standardsIncreased gain allows tonal options from pristine cleans to classic rich saturationInputs: Mic/Line (Balanced XLR), D/I (1/4")Stepped gain: 6dB increments; fine gain: variable +/-5dB;Total Gain: +57dB; output control: variableRumble filter; 20dB pad; Polarity reverse; +48V Phantom powerTubes: EF86, E88CC (input/output)Transformer balanced I/O (custom wound)Internal power supplyChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The Chandler Limited TG2 Abbey Road Special Edition preamp is an spot-on re-creation of the rare EMI TG12428, found in the recording and mastering consoles of EMI (and later Abbey Road) studios in the late '60s and early '70s. The TG2 gives you a pair of top-shelf preamps, built using the original TG12428 schematics provided by Abbey Road and EMI. Get the sound of the preamp used in such recordings as The Beatles' Abbey Road and Pink Floyd's Dark Side of the Moon albums - with Chandler Limited's TG2 Abbey Road Special Edition.Chandler Limited TG2 Abbey Road Special Edition 2-channel Preamp at a Glance:There's history behind this amazing-sounding preYou get warmth and punch - plus an open, airy high endPut this in your rack and brace yourself for some serious toneThere's history behind this amazing-sounding preThe Chandler Limited TG2 Abbey Road Special Edition is a re-creation of the rare EMI TG12428 preamp fitted in EMI/Abbey Road recording and mastering consoles of the late '60s and early '70s. This instantly identifiable sound was used on many legendary Abbey Road recordings, including The Beatles Abbey Road and Pink Floyd Dark Side of the Moon.You get warmth and punch - plus an open, airy high endThe Chandler Limited TG2 Abbey Road Special Edition preamp incorporates the same discrete transformer-balanced amplifiers as the TG Series limiter, giving you a creamy, smooth tone with an open, airy high end. The sound, as described by many users, is imbued with classic Neve warmth and punch - but with a more open top end. The unit does indeed have a small rise in its high frequency response, along with some warmth-inducing distortion which contribute to its unique, punchy sound.Put this in your rack and brace yourself for some serious toneChandler Limited's TG2 Abbey Road Special Edition preamp gives you a pair of top-shelf pres, built using the original EMI TG12428 design notes and circuit board drawings provided by Abbey Road and EMI. With an genealogy like that, this preamp's a no-brainer. When you plug into the Chandler Limited TG2 Abbey Road Special Edition preamp, you plug into the sound behind some of the most memorable recordings in classic rock history. Put the Chandler Limited TG2 Abbey Road Special Edition preamp in your rack and brace yourself for some serious tone.Chandler Limited TG2 Abbey Road Special Edition 2-channel Preamp Features:Topology based closely on the original EMI TG12428 at EMI/Abbey Road studioDiscrete transformer-balanced amplifiers produce a warm tone with clear highs and rich lowsBoth channels have 1 x XLR I/O, plus 1 x TS for high-impedance instrument-level inputInput gain ranges from +5dB to +75dB, in 15 stepsBoth channels have +48V phantom power, a phase reverse, and an impedance switchImpedance switch toggles between 300 ohms and 1200 ohms, to match any micChannel output gain control lets run the input gain hot for extra colorSumming option mixes both preamps using the TG2's discrete circuitry for a minimal signal pathChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

The WA-MPX is an authentic reproduction of the vintage tape machine tube preamp that started the birth of rock ‘n’ roll known for pure analog warmth, delivering an impressive 300v of raw power & 90dB of tube gain. During the golden era of tape recording, the original 351-style tube preamp became the kings of studio tech and signature sound in the signal chain of hit recordings for artists including Elvis Presley, Bing Crosby, Les Paul, Nat King Cole, and Roy Orbison and producers like Steve Albini- a timeless sound that continues to be pursued by elite audio engineers today. With premium components, true-to-original circuit design, and selectable tape saturation, the WA-MPX authentically reproduces all the analog tone of the original to bring vintage warmth & color to your sound.

The WA-MPX is an authentic reproduction of the vintage tape machine tube preamp that started the birth of rock ‘n’ roll known for pure analog warmth, delivering an impressive 300v of raw power & 90dB of tube gain. During the golden era of tape recording, the original 351-style tube preamp became the kings of studio tech and signature sound in the signal chain of hit recordings for artists including Elvis Presley, Bing Crosby, Les Paul, Nat King Cole, and Roy Orbison and producers like Steve Albini- a timeless sound that continues to be pursued by elite audio engineers today. With premium components, true-to-original circuit design, and selectable tape saturation, the WA-MPX authentically reproduces all the analog tone of the original to bring vintage warmth & color to your sound.

High-quality Mic Pre with FX LoopA stompbox-size audio toolkit for on-stage, in the studio, and everywhere in between. Includes a quiet high gain mic-pre, 48V phantom power, and enough I/O and control for applications such as FX Loop for microphone signal processing (vocals, horns, strings, etc), signal splitting, and combining, complete re-amp setup, impedance, and gain matching, mixing and more.

The Chandler PSU-1 is designed to run any two Chandler units except the Mini Rack Mixer.

Avalon DI-preamplifiers have been in use around the world since 1985. They have found their way into the world's leading musicians rigs and recording sessions and have been featured on thousands of the best selling (and sounding) albums, downloads and live performances. The V55 includes the best of the Avalon U5 DI functions with two studio quality preamplifiers and "a new sonic addition". Two alternate solid-state topologies are cascaded to provide a rich, low midrange harmonic content not offered in other Avalon preamplifiers. This feature empowers the V55 with a new scale of sonic character.Features:Dual Mono, Pure Class A, 100% discrete designForward musical detail and sonic excellenceMinimum audio signal path with 10 position extended range TONE-BANK™High quality transformer input & isolated outputMicrophone and Hi-Z inputs to +36dBVery low noise -100dBHigh headroom +30dBSwitched 2dB, high-gain preamplifer to +66dBDC coupled Pure Class A outputLarge illuminated professional VU meterTwin LED peak signal indicatorsRegulated +48v phantom power supplyLow distortion less than 0.5% THD and IMDVariable passive high pass (bass cut) filterAll signal routing with sealed silver relaysSonic Excellence The Avalon V55 DI-RE-MIC Preamplifer is an ultra-high performance professional dual channel preamplifier, DI and RE-amper. Created for maximum versatility, the V55's sonic signature - "Deep and Controlled Bass, Musical Mid-range and enhanced Vocal Projection" combine with a unique set of user features including, 100% discrete Pure Class A amplification, Avalon's unique "passive" TONE-BANK™, professional VU meter with dual peak LED's, multiple outputs including an instrument level transformer isolated Re-amp. Designed to optimize absolute signal integrity and musical performance, the V55 is ideal for ribbon, dynamic and condenser microphones, bass guitar, acoustic instruments, electric guitars, keyboards, synthesizers, and very low output passive pickups. The state-of-the-art DI input stage provides a very-high inpedance, "zero-load" effect on sensitive pickups and keyboards, while maintaining massive input headroom to +36dB before overload.Minimum Signal Path Design The V55 includes a very high quality input transformer (same as the Avalon VT-737sp) with dual microphone input impedance loading for perfect mic/cable matching, high-cut switch for eliminating unwanted acoustic pickup and high frequency noise, headphone monitor amp and DC coupled, 100% Class A output amplifiers for defined bass control. A buffered "thru" output for zero-instrument-load tuners or power amp inputs, internal toroid power transformer with discrete high-voltage power supplies for low noise and sealed silver relays for transparent signal routing.

The 1073DPX has two channels of 1073® Class A design microphone preamplifiers, each with 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and a high pass filter.With two 1073® pre-amps packed into a modern, 2u 19″ rack format, the 1073DPX features everything you need to record a variety of performance setups. For example, stereo micing setups such as piano or drums work perfectly through the dual-channel DPX. Alternatively, singer-songwriters can use each channel strip independently for an acoustic guitar and a vocal simultaneously.

The Neve preamp for the modern ageThe elegantly crafted 1073SPX adopts the 1073® Class A design, exquisite 3-bandEQ (fixed HF plus two switchable bands with cut/boost capability) and high pass filter – making the 1073SPX the obvious choice for modern studios.

The PRE-73 Jr PREMIER is a one-channel vintage style microphone- and instrument preamplifier. The signal path uses only discrete components like resistors, capacitors and transistors. The in- and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available. Integrated circuits are small and cheap and widely used in most modern designs. It is clear though that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires. On the contrary, the subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market. The circuit used in the PRE-73 Jr PREMIER is similar to the preamp section in the classical 1073 module with a corresponding sound character that is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.

The API Select T12 is a classic 2-channel, all-tube, Class-A microphone preamplifier designed with API's proprietary AP2516 transformer in the input stage and a custom API transformer on the output stage. Built with 12AT7WC and 12BH7 dual-triode vacuum tubes, the T12 represents a new and exciting variation in API's preamplifier technology and provides the user with unique tonal options. The T12 can handle a wide range of production applications including stereo operation. Carefully engineered to deliver classic tube performance and sound, the T12 delivers API's famous warmth, punch and clarity in an all-new way and features our industry-exclusive Five Year Warranty.

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.

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.

A superb addition to the Neve® outboard range, providing two of our world-famous Class A 1073® microphone preamplifiers in a single rackspace.The big, punchy sound of the 1073® compliments any musical genre, from rock to pop, hip-hop to rap, thrash to classical. Its lush sound with classic Neve® signature makes it the consummate mic pre for recording vocals, guitars, and acoustic instruments of all descriptions. With the 1073®DPA, the highly sought-after 1073® mic amp sound is now available in a cost-effective 1U stereo rackmount solution, without the additional EQ found on the classic 1073 unit.The 1073®DPA provides the legendary sound of Neve in a remarkably simple format. Two rear-panel Mic inputs and Line inputs feed dual Class A gain stages, with adjustable Gain control and selectable 48V available on the Mic inputs. Class A analogue outputs in XLR format are also found on the rear panel, controlled via adjustable front-panel ±10dB Trim controls. This stereo unit is the perfect solution for studios looking to bring in the very essence of the legendary 1073® sound.Fearures:Two legendary 1073®  microphone preamps in a convenient 1U rackmount designHand-crafted and hand-wired by Neve in Burnley, UKExclusive Neve®  Marinair™ transformers used on input and output stagesDedicated input Gain controls and output Trim controls on both channels+48V Phantom Power and Phase Reverse switchHigh quality Input Selector switch

Possibly the best value in the business! The Vintech Audio X73i is a class A, all discrete, transformer balanced microphone preamplifier with equalizer both based on the classic Neve 1073 module. It is constructed utilizing modern manufacturing techniques which allow us to offer this product at an incredible value. Now practically anyone can record with the classic sound of vintage modules without having to deal with inflated vintage prices.  The X73i features the same class A mic pre as the X73 with all of the same eq parameters plus additional mid-range frequencies, selectable input impedance, 1/4 inch D.I. on front panel, transformer balanced mic and line inputs, phase reverse, phantom power switch, eq switch, 70db of gain, quality Grayhill rotary switches, custom machined aluminum knobs, plus many other features.  FEATURES: Class-A output amplifier that uses a 2N3055 NPN power transistor  One rack space 16-gauge, all-steel Chassis  St. Ives output transformer  Hand wired Elma rotary input gain switch  Circuit board mounted rotary switches  Gold contacts  1,200 OR 300 ohm input impedance  Rear Neutrik XLR in/out, TRS out  Rear 1/4" TRS balanced line input  1/4" direct instrument input on the front panel  TUBE OR SOLID STATE: Solid State CHANNELS: Single-Channel CHASSIS: 19-inch Rack-mount RACK SPACES: 1u DIRECT INPUT: Yes DIGITAL I/O: No EACH UNIT INCLUDES: Low shelving  Fixed Hi EQ  Variable Low EQ  Variable Mid EQ frequencies  Input gain control  Output level control  Phase reverse switch  +48-Volt phantom power switch  EQ in/out switch  Power indicator LED  Note: This unit requires the Vintech Power Supply.

A lot of preamps on the market do a good job of raising the volume of mics and instruments. Unfortunately, many pres are doing only that, raising volume.  The “Super clean” designs of today often leave the signal exiting the preamp sounding much the same as it did entering it.The WA12 MKII is a completely discrete, high voltage, dual-transformer microphone preamplifier designed for high gain (+71dB), high headroom, low noise, and an exciting sonic performance – great for all types of recording applications.  A high quality mic preamp is one of the most critical pieces needed to achieve the elusive ‘larger than life’ sound, and the WA12 MKII is more than capable of delivering. ​The WA12 MKII is based around a discrete op-amp, the X731, which is our own reproduction of the vintage classic Melcor 1731, considered by some to be the warmer predecessor to the modern 2520-style op-amp.  The X731 can achieve vibrant, clean and lifelike tones; but can also be driven into mild saturation at much higher gain levels.  The effects can be subtle, but very pleasing to the ear.  The WA12 MKII can also accept any discrete op-amp on the market which conforms to the +/-16v, 2520 pinout standard.   In this example, the WA12 MKII is being routed as an insert into a recording device. This is useful for using the WA12 as an “analog plug-in” or insert for mix-down. The recording device is feeding the WA12 with a balanced 1/4” cable via a line output. Then, the recording device is capturing the WA12 MKII via a LINE LEVEL input. Note: It is important to use a line level input on your recording device as opposed to a microphone or instrument level input.If you are looking for a preamp to improve and shape your signal you will most definitely love the WA12 MKII. The WA12 MKII is designed to transform plain instruments and vocals into exciting tone.  If your mixes lack depth, struggle to sound alive, or are just missing that professional touch you’ve always wanted, there is a good chance you will love the WA12 MKII. Specifications: Utilizes premium grade input and output USA CineMag transformers. 71db of Gain, fully discrete signal path. Utilizes a discrete 6-pin socketed 1731 style opamp.  Can be replaced with other 6-pin "2520 foot-print" opamps for varying tone/flavor. TONE button – Switches the input impedance from 600 ohms to 150 ohms.  Changes the tone of both the mic and HI-Z inputs. 2 Meg Ohm True HI-Z input on front panel. Sends instrument signal through entire circuit including both Cinemag Transformers and the discrete opamp. Great for guitars, bass, keyboards and other instruments that have a 1/4″ output jack. Mic level balanced input: XLR. Balanced outputs: XLR and 1/4″/TRS. 48 volt Phantom Power. Output attenuation control (after the CineMag output transformer) allows for driving the preamp and transformers into saturation. LED Meter gain indication. 20db pad. External power plug. ​​

High Fidelity Microphone Preamplifier Like the updated m801mk2, our freshly redesigned m201mk2 provides a full serving of our unique brand of audio performance. It delivers massive headroom, ultra-wide bandwidth and a very open, musical character. The fully balanced signal path has been refined, resulting in incredible dynamic range. A new power supply design provides the lowest noise performance we have ever achieved. This all means the new m201mk2 will translate a sonic picture of astonishing clarity and detail, which captures the essential character of the music being recorded. Changes over the previous design find the m201mk2 more essential and a bit more paired down. We have eliminated the A/D option as this is functionality is now best served buy our current m108 8 channel mic preamp A/D. We have eliminated the M+S matrix and a few other functions to really focused on making the finest, purist style 2 channel mic preamp we can. These refinements also serve to bring the price down to where even more recording engineers can now afford Grace Design flagship mic preamp performance. The m201mk2 will bring out the very best in your entire microphone collection. Your favorite large diaphragm mics will sound like they were intended, with detail and texture in extra measure. Your humble dynamics mics will come alive with newfound dynamics and clarity. Ribbons mics will perform their best with our exclusive ribbon mic mode, which shifts the gain range up 10dB while deactivating 48V phantom power, bypassing the decoupling capacitors and optimizing the input impedance. FREQUENCY RESPONSE: @ 20dB gain ± 3dB 150Ω source: 3.2Hz-530kHz @ 20dB gain ± 0.2dB 150Ω source: 14.8Hz-109kHz @ 40dB gain ± 3dB 150Ω source: 3.2Hz-500kHz @ 40dB gain ± 0.2dB 150Ω source: 15.4Hz-103kHz THD+N: @ 20dB gain +20dBu out, 1kHz:

Features API's Classic 312 Microphone Preamp in a 500 Series module Vintage Style Analog VU Meter Maximum 69dB of gain Traditional API fully discrete circuit design with 2520 Op Amp Proprietary AP2516 Input Transformer 20 dB pad switch 3:1 Output Transformer Tap Selection Switchable 48V phantom power Peak LED API's Five Year Warranty The 312 is one of API's most sought after and famous mic preamps. First introduced in the 1970s, it is well known and respected throughout the recording industry, and is the building block of the modern 3124 rack unit. Based on API co-founder Saul Walker's original designs, the API 312 Mic Pre combines our 2520 op-amps and proprietary transformers. It delivers the analog warmth, massive headroom and unmistakable sound for which API is known, in a convenient 500 Series format. Following the success of the hand wired 312 50th Anniversary Edition, this standard production version offers the classic API sound at an affordable price. Like all API products, the 312 is backed by API's unique Five Year Warranty.

The PRE-73 DLX PREMIER is a one-channel vintage style microphone-, line- and instrument preamplifier. The signal path uses only discrete components like resistors, capacitors and transistors. The line and microphone input and the line output are transformer balanced, using three different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available. The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern products, a situation that is even more obvious now when music is recorded with clean sounding digital audio equipment.The circuit used in the PRE-73 DLX PREMIER is similar to the preamp section in the classical 1073 module with a corresponding sound character that is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.

Definitive British Preamp/EQ, Enhanced Neve 80 series consoles defined the sound of 1970s rock 'n' roll; their original 1073 preamp and EQ modules wrote the book on characterful mic preamplification and punchy equalization. Introduced later in the decade, the 1084 included several enhancements under the bonnet, most notably selectable HF frequency centers and a lowpass filter. Done up in classic RAF blue-gray livery, the BAE 1084 Rackmount nails the authentic sound of the vintage modules, using the same hand-wired, transformer-coupled Class A design and original-spec components like Carnhill St. Ives transformers, Elma switches, and Canford wire. With 80dB of gain on tap, the 1084 lets you capture subdued sources with your favorite ribbon mic. Cranking preamp gain enhances your tracks with tasty vintage-style coloration. The 1084 is fitted with concentric highpass and lowpass filters to curtail undesirable frequency extremes that could mar an otherwise perfect performance. And the 1084's renowned 3-band EQ section can enhance anything. The BAE 1084. Take it from Sweetwater: this is the stuff of legend. BAE 1084 Rackmount Features: All Class A, hand-wired transformer-coupled design 80dB of gain on tap handles low-out ribbon mics Highpass filter: Off, 50Hz, 80Hz, 160Hz, and 300Hz Lowpass filter: Off, 6kHz, 8kHz, 10kHz, 14kHz, and 18kHz 3-band EQ section HF: +/-16dB shelving, selectable center frequencies at 10kHz, 12kHz, and 16kHz MF: +/-18dB peaking, fixed Q, selectable center frequencies at 360Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, and 7.2kHz LF: +/-16dB shelving, selectable center frequencies at 35Hz, 60Hz, 110Hz, and 220Hz Handles line-level inputs for added versatility High-impedance DI for guitar, bass, synth, and other sources Polarity reverse switch Original-spec components include Carnhill St. Ives transformers, Elma switches, and Canford wire Frequency response: 10Hz-55kHz (-3dB) Mic input impedance selector switches between 1200 and 300 ohms Line input impedance: 10k ohms; DI Input Impedance 150k ohms Output impedance: 65 ohms Common mode rejection ratio: 100dB min at 60Hz Maximum output level: +27.4 dBu at 600ohms Regulated linear power supply runs up to two channels

Definitive British Preamp/EQ, Enhanced Neve 80 series consoles defined the sound of 1970s rock 'n' roll; their original 1073 preamp and EQ modules wrote the book on characterful mic preamplification and punchy equalization. Introduced later in the decade, the 1084 included several enhancements under the bonnet, most notably selectable HF frequency centers and a lowpass filter. Done up in classic RAF blue-gray livery, the BAE 1084 Rackmount nails the authentic sound of the vintage modules, using the same hand-wired, transformer-coupled Class A design and original-spec components like Carnhill St. Ives transformers, Elma switches, and Canford wire. With 80dB of gain on tap, the 1084 lets you capture subdued sources with your favorite ribbon mic. Cranking preamp gain enhances your tracks with tasty vintage-style coloration. The 1084 is fitted with concentric highpass and lowpass filters to curtail undesirable frequency extremes that could mar an otherwise perfect performance. And the 1084's renowned 3-band EQ section can enhance anything. The BAE 1084. Take it from Sweetwater: this is the stuff of legend. BAE 1084 Rackmount Features: All Class A, hand-wired transformer-coupled design 80dB of gain on tap handles low-out ribbon mics Highpass filter: Off, 50Hz, 80Hz, 160Hz, and 300Hz Lowpass filter: Off, 6kHz, 8kHz, 10kHz, 14kHz, and 18kHz 3-band EQ section HF: +/-16dB shelving, selectable center frequencies at 10kHz, 12kHz, and 16kHz MF: +/-18dB peaking, fixed Q, selectable center frequencies at 360Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, and 7.2kHz LF: +/-16dB shelving, selectable center frequencies at 35Hz, 60Hz, 110Hz, and 220Hz Handles line-level inputs for added versatility High-impedance DI for guitar, bass, synth, and other sources Polarity reverse switch Original-spec components include Carnhill St. Ives transformers, Elma switches, and Canford wire Frequency response: 10Hz-55kHz (-3dB) Mic input impedance selector switches between 1200 and 300 ohms Line input impedance: 10k ohms; DI Input Impedance 150k ohms Output impedance: 65 ohms Common mode rejection ratio: 100dB min at 60Hz Maximum output level: +27.4 dBu at 600ohms Regulated linear power supply runs up to two channels

The Tone Beast now is BLACK !  This great mic pre with loads of gain that can effortlessly capture an array of sources very well. With top notch CineMag transformers and multiple discrete signal paths, it's hard to beat its big, bold, fully-professional sound at its price. The Tone Beast is a mic pre that likes to be pushed and when pushed will colorize your signal ever so sweetly. The 2 opamps and 2 output transformers at the flip of their switches won't appear to be much different, but as one drives the pre into harmonic distortion, the unique character of each of these components becomes apparent. Additionally the Tone Beast is customizable and allows for other opamps to be sourced and easily swapped into the unit. I've pulled my best tones from this pre right at the saturation point (as loud as I can push the gain before clipping). The output control on the TB12 allows you to limit the signal exiting the preamp even when pushing the gain to really hot levels, giving you maximum control. The goal was to make a microphone preamplifier affordable for the first time, without compromising the quality and design parameters that make this type of microphone preamplifier so desirable.   Home-based musicians and professional studios alike will find the Tone Beast to be an extremely powerful and fully professional piece of gear that is capable of warming and shaping signals/mixes in a way that is very pleasing to the ear. The TB12 "Tone Beast" is a high-voltage microphone preamplifier, utilizing CineMag USA Transformers. Have no fear of hurting the Beast, you can push it very hard into full-on distortions if you wish, and these can sound quite nice on electric guitar, bass or anything else that likes some nice grit. When hand building mic pres I learned a bit about the "subtle" differences component choices can make. A little change here, and another there often times became a huge deal in a finished mix, but often times is not very noticeable at first take. The different component options in the TB12 are subtle, but when driven into saturation are noticeable and can make a big difference to the way your final mix will sound. Home-based musicians and professional studios alike will find the Tone Beast to be an extremely powerful and fully professional piece of gear that is capable of warming and shaping signals/mixes in a way that is very pleasing to the ear. Specifications: Utilizes premium grade CineMag USA Transformers. 71db of gain. Transformer selection provides both Steel and 50% Nickel CineMag output transformers for varying character. Transformer bypass switch allows for removal of the output transformer from the circuit. Discrete Opamp selection allows for choosing between a 1731(vintage) and 918(cleaner) style .opamp.  These are socketed/swappable with your choice of 2520 6 pin footprint opamps. Impedance switch labeled TONE to switch between 150 and 600 ohms input impedance.  Changes the Tone of all inputs (Mic, Line and Hi-Z.). 2 Meg Ohm True HI-Z input on front panel sends instrument signal through entire circuit including both Cinemag Transformers and the discrete operational amplifier. Great for guitars, bass, keyboards and other instruments that have a 1/4″ output jack. Capacitor selection between Tantalum and Electrolytic for different characters. 80hz hipass filter. Polarity Reverse. +48V phantom power. Output attenuation allowing for saturation flexibility of both the opamps and transformers. ¼" insert for the use of inline compressors, eq's etc. Balanced XLR mic, balanced TRS line, and ¼" instrument inputs. -20db Pad. LED VU Meter. Compatible with standard 500 series racks.

HIGH FIDELITY 8 CHANNEL MIC PREAMPLIFIER In 1994 we released the Model 801 microphone preamplifier, which was the first production model for Grace Design. It set a new standard of sonic quality and reliability for microphone preamplifiers, providing much better performance than the built-in circuits in the recording consoles of the day. It featured independent circuit boards for each channel, gold contact rotary gain controls wired with precision metal film resistors, a musical sounding transimpedance (current feedback) gain stage, gold contact sealed relay signal switching, and there were NO electrolytic capacitors in the signal path. 12 years later, we released the next generation of this preamplifier, renamed the m801, which refined the design features of the previous version, and added a fully differential signal path and Ribbon Mic mode, which optimized the signal path for low output ribbon microphones. Now 20 years later, the next generation is here, now named the m801mk2. Newly designed amplifier circuitry adds to the features of the previous versions while significantly improving noise performance at low gains, increasing low frequency bandwidth for improved phase response, improving RFI/EMI immunity for today’s ever noisier world, and eliminating the external DC power supply for a cleaner, simpler design. Today’s modern recording studio is invariably loaded with incredible sonic processing capability, making the opportunity to add great sounding color routine. But capturing the magic at the front end is still the job of skillfully designed analog hardware, for which there is no substitute. This makes our preamps more relevant than ever. If your source sounds great and your mic is plugged into the m801mk2, you’ll be rewarded with a recording of breathtaking depth and realism. If you choose to color it up from there, you’ll be starting with the best possible raw material you can get. THE GRACE DESIGN EON AND STANDARD WARRANTIES We back up everything we make with either our unrivaled 20 year EON limited warranty, or the 5 year standard limited warranty. These represent the best coverage in the business and prove our commitment to the quality, serviceability and long term value of Grace Design products.

The dBooster has two gain settings, 12 dB and 20 dB, allowing you to dial in just the right amount of in-line gain for your different singers and instruments. The 20 dB setting gives loads of clean boost for recording soft instruments and singers, but when your singer is wailing or you use the dBooster on high volume instruments like electric guitar, switch it down to 12 dB to keep from overloading your preamp or digital interface.  The dBooster’s Class A input stage delivers crystal clean gain with virtually no noise or self-distortion. The dBooster’s low-impedance output keeps things clean in the studio and also shines on live stages, driving long cable lengths and difficult loads like mic splitters and vintage-style preamps with no loss of gain, no increased distortion, and excellent headroom. The dBooster gives excellent results with Royer R-121s, R-10s and stereo SF-12s. It also smokes on SM7s and other dynamic mics! The dBooster is built in the USA and ships from our Burbank headquarters. Features: Switchable 12dB/20dB gain Ultra-low noise, ultra-low distortion Class A input stage Safe for use on all ribbon mics Wide frequency bandwidth Retains sound quality on long cable runs Maintains headroom and gain regardless of load ​

First Eight-Channel Microphone Preamplifier featuring 120V TechnologyThe Crescendo is the first microphone preamplifier which operates with an internal operating voltage of 120V. Making it absolutely unique, because with the 120V Technology it is nearly impossible to overdrive this preamplifier. The Crescendo excels with absolute signal fidelity and clarity. Rediscover your microphones, they have never been amplified like this.SUPRA op-amp Thanks to the discrete buildup with our proprietary high-voltage amplifiers, the SPL SUPRA op-amps, and thus a possible internal operating voltage of +/- 60V (120V Technology), the Crescendo provides unprecedented technical performance data. Crescendo is capable to amplify even the fastest transients, the finest details and the complete frequency range, clean and almost without any distortion.Use the Mic Gain for the setting of the pre-amplification. You can control a range from 18dB to 70dB. For high-level signals, which do not need to be amplified that much, you can use a PAD with -20dB. Thus the control range of the amplification is shifted to -2dB to 50dB.In and Output StagesThe differential amplifiers in the input stage are built-up with transistor pairs, consolidated in in a special housing. A precise matching of the transistors as well as thermal coupling guarantee a high common mode rejection and extremely low THD values. The choice of transistors and electrical resistors has a massive impact on the sound. Within countless listening sessions, the perfect components for the Crescendo were chosen – It was well worth the effort!ServoThe discrete op-amps of the output stage are able to drive long cable paths without any problems. The output stages operate as current amplification, which, with 6mA quiescent current, also provide mere Class A operation. We almost completely renounced to use coupling capacitors, to avoid their sonic disadvantages (diffuse, blurring, loss of dynamics ). However, to eliminate DC voltage, active servo circuits are used.