Signal Processors

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

Manley’s modern take on the Pultec EQ - in stereo! - with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Magic on drums, killer on guitars.The MANLEY ENHANCED PULTEC EQP-1A is our own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. We have been building these Manley Pultec EQs since 1990 after we bothered to hunt down Eugene Shenk in New Jersey to ask for his permission and blessings to produce our own version of his classic piece. These Manley Pultec units employ our own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit. EQ may be set to 'flat' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Our single rack unit monoblocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. And if you notice, we've added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4" jack) may be selected in that switch's middle position.People often ask us if our Pultec EQ's sound like the old ones to which we reply, "Yes! But better!" The originals had three transformers in the signal path whereas ours can be used completely transformerless. Our Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. Our line amp is known to be killer-sounding. The components we use today just weren't available in the 1960's. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec!The MANLEY PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like our 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety. Kick drum? Bring on the Pultecs and all the iron you can muster! You'll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. . . Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You'll see. There's no substitute for a what a Manley Pultec EQ can do!

Manley’s modern take on the Pultec EQ with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Magic on kick drum, killer on guitars.The MANLEY ENHANCED PULTEC EQP-1A is our own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. We have been building these Manley Pultec EQs since 1990 after we bothered to hunt down Eugene Shenk in New Jersey to ask for his permission and blessings to produce our own version of his classic piece. These Manley Pultec units employ our own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit. EQ may be set to 'flat' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Our single rack unit monoblocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. And if you notice, we've added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4" jack) may be selected in that switch's middle position.People often ask us if our Pultec EQ's sound like the old ones to which we reply, "Yes! But better!" The originals had three transformers in the signal path whereas ours can be used completely transformerless. Our Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. Our line amp is known to be killer-sounding. The components we use today just weren't available in the 1960's. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec!The MANLEY PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like our 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety. Kick drum? Bring on the Pultecs and all the iron you can muster! You'll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. . . Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You'll see. There's no substitute for a what a Manley Pultec EQ can do!

Optimize Your Audio with the Stereo VitalizerThe SPL Stereo Vitalizer Mk3-T harmonic exciter is an indispensable tool for enhancing your audio. Based on research in the fields of psychoacoustics and audiometry, SPL’s unique, patented Vitalizer circuitry heightens detail and transparency, boosts perceived loudness, and beefs up bass response for powerful, radio-ready mixes that blast right out of the speakers. The key to the Stereo Vitalizer Mk3-T’s sonic magic is that it works both in the frequency and time domains through a series of minimal temporal offsets of loud frequencies. As a result, superimposed audio transients are unmasked to unveil a whole new level of clarity in your mixes. For decades, recording engineers have used subtle harmonic excitement to help elements sit perfectly in the mix. Now, with the SPL Stereo Vitalizer Mk3-T harmonic exciter, you can too.An indispensable sound-design toolSPL's Vitalizer technology is known by engineers worldwide as an effective way to polish audio with highly musical results. Use the Drive control to fine-tune the signal level for precise interaction with the filter network and bring out the best parts of an audio signal. The Stereo Vitalizer Mk3-T is unsurpassed as a sound-design tool. It adapts the frequency spectrum to the curves of equal loudness, heightening the perception of loudness. It can enhance intelligibility in vocals and augment the soundscape of a complete mix — and more. Low frequencies are subtly shifted to prevent them from masking transient details, giving your tracks and mixes more clarity than ever. The integrated Bass Comp focuses on the bass range so you don't overload downstream equipment in your signal chain. So, even if you use the Stereo Vitalizer Mk3-T to bolster your bass tracks, you still have the dynamic control you need to keep signal levels in check.The cure for iron-poor mixesPrevious versions of the Stereo Vitalizer have proved their mettle in top studios for years. Now, the third-generation Stereo Vitalizer Mk3-T ups the ante with a new design that uses a higher internal audio voltage of +/-18V, resulting in enhanced dimensionality and increased detail. Processed through the Vitalizer Mk3-T, you’ll notice your mixes bloom with vitality and richness of detail that makes them more accessible to the ear. They brim with enhanced depth and width, more deeply layered and widely spread apart. Authoritative, natural, and lively-sounding, your mixes will translate better to the world outside your studio, holding up well on real-world playback systems where lackluster mixes go to die. So do your mixes a favor. Energize them with the SPL Stereo Vitalizer Mk3-T.SPL Audio: supercharged audio productsFormed in Germany in 1983, SPL Audio has been at the forefront of the pro audio industry since its inception. After developing proprietary 120V Technology in the ’90s, SPL decided to make this groundbreaking invention the heart of all its high-end products, and this incredibly powerful yet transparent sound has earned many devotees at Sweetwater and beyond. Other revelatory inventions SPL has become known for include level-independent envelope processing and using phase cancellation in auto-dynamic de-essers for reducing sibilance. Sweetwater is proud to offer audio professionals SPL’s distinguished lineup of innovative products.

Get That Authoritative, Professional SoundNow in its third iteration, the ever-popular SPL Track One MK3 Premium channel strip has been extensively updated with upgraded specs and a more intuitive design optimized for the modern recording studio. This version of the Track One MK3 Premium is spec'd with premium Lundahl input and output transformers for that authoritative "big-iron" sound that leaps right out of the speakers. From broadcasting and voiceovers to music recording, podcasts, and live events, Track One MK3 Premium always delivers superior sonics, enhancing vocals and instruments from any source, be it mic, line, or DI. The stellar mic preamp provides plenty of gain for your mics and instruments, and SPL's acclaimed De-Esser is onboard for taming sibilant vocalists. Optimize your dynamics with the compressor/limiter, sweeten your tone with the 3-band EQ, and you've got radio-ready sound from the SPL Track One MK3 Premium channel strip.Your solution for fast, high-quality recordingsWe talk to many musicians at Sweetwater who need to be able to produce professional recordings quickly — guitarists and bassists for hire, engineers making radio spots, the list goes on. The beauty of the SPL Track One MK3 Premium channel strip is that it's amazingly fast to dial in a great sound with virtually any source. The built-in processing is perfect for adding that extra studio polish without having to patch in external processors or bounce audio through plug-ins.Capture better vocals with the built-in De-EsserThe SPL De-Esser is considered an essential tool in countless studios, and it's built right into the SPL Track One MK3 Premium channel strip. It's known for removing harsh sibilance from vocalists in a natural, musical way, serving up transparent results even at extreme settings. One thing you'll find especially useful is the SPL De-Esser's automatic threshold-adjusting function. It basically compensates for a singer's varying distance from the mic, applying de-essing even with the signal is lower so that compressing afterward doesn't bring lower sibilants back up in level.Compressor/Limiter controls dynamics and adds characterThe Track One's compressor/limiter is an extremely easy-to-use one-knob design utilizing time constants (including attack and release) that are automated adaptively to the input signal, allowing for simple set-and-forget operation. Pressing the Limiter button switches the compressor into limiter mode, with the threshold being set by the compression knob. Like the compressor, SPL’s soft limiter is unobtrusive and delivers consistent, highly musical-sounding results. A separate makeup gain knob is provided for maintaining proper gain structure in your signal chain.Combine two for stereo operationFor maximum flexibility in your studio, get two SPL Track One MK3 Premium channel strips and link them for stereo compression. You'll be able to record beautifully wide stereo tracks and get true stereo compression with just one set of controls. Best of all, the EQs will still be independent, so you can fine-tune the stereo image simply by using slightly different EQ settings on each side.SPL Audio: supercharged audio productsFormed in Germany in 1983, SPL Audio has been at the forefront of the pro audio industry since its inception. After developing proprietary 120V Technology in the ’90s, SPL decided to make this groundbreaking invention the heart of all its high-end products, and this incredibly powerful yet transparent sound has earned many devotees at Sweetwater and beyond. Other revelatory inventions SPL has become known for include level-independent envelope processing and using phase cancellation in auto-dynamic de-essers for reducing sibilance. Sweetwater is proud to offer audio professionals SPL’s distinguished lineup of innovative products.

Premium Name-Brand TubesOne of the key elements of the WA-1B’s sonic signature is analog warmth of the makeup gain. Using premium vacuum tubes, the WA-1B adds rich character after the compression stage to deliver a dynamically-One of the key elements of the WA-1B’s sonic signature is the analog warmth of the makeup gain. Using premium vacuum tubes, the WA-1B adds rich character after the compression stage to deliver a dynamically-balanced signal without sacrificing tone. signal without sacrificing tone.Custom Transformer From Lundahl SwedenWe paired the true-to-spec Scandinavian circuit design with two custom large-core transformers from Lundahl in Sweden. Transformer selection plays a critical role in the rich analog tone and signal transfer that help deliver smooth compression with more control.

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.Specifications:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 Ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

It’s designed to cover all the needs of every producer/engineer who wants to maximize their use of mid-side processing for enhanced stereo width; tight, focused mono-bass, and more. Its four discrete functions are divided across two linkable control sections for intuitive use, and its advanced cue section makes monitoring a breeze.Parallel insert with M/S function: With the insert section you can insert an external processor like an eq, compressor, distortion unit etc, and then dial in a mix between the processed signal (wet) and the unprocessed signal (dry). For maximum precision the blend control has 16 steps from dry to wet. If you activate the M/S function your signal will be coded into mid (L+R) and side (L-R). The mid signal normally contains all the center info such as bass, kick drum, lead vocal etc and the side signal contains all the panned parts of the signal. In M/S you can process the center signal and side signal separately with different types of processors. With the blend split function you get separate blend controls for the mid and side signal. In M/S mode the blend function takes place before the signal is decoded back to left/right. With the insert cue function you can monitor the L or R signal after the blend control separately, mid or side if M/S is active. This section can be used with it’s own balanced inputs and outputs.Elliptical Equalizer: With the elliptical EQ all frequencies below a selected frequency will be made to mono. This function can make your low end more focused. It’s an old technique used when mastering for vinyl. Too much low end in the side channel (vertical) can make the needle bounce slightly and cause distortion. By using a 12dB high pass filter in the side channel you set the frequency under which the signal will be processed as mono. As a HPF introduces phase shift to the signal, a phase correction is added to the mid channel keeping channel separation as good as possible. The EEQ has 16 frequencies from 36Hz to 302Hz. With the EEQ cue function you can monitor the signals that are mixed between the channels.Stereo width control: By adjusting the amount of side information in the stereo mix, the width can be adjusted incrementally from mono to extra wide. With this control you can fine adjust the stereo image after you have used the M/S insert.Cue function: With the cue function you can monitor the left, right, mid or side signal separately. By pressing the cue sections Insert switch you can cue the parallel inserts return signal by pressing L or R. (this can be done even if you run the two sections separately at different locations in your chain) By selecting the EEQ switch on the cue section you can monitor the low frequencies fed from left to right or right to left. The cue section is a passive design using relays to select the cue source.

Limited version with silver panel. The TK-lizer 2 is a Baxandall type of EQ, high and low bands are selectable between shelving or peak, very useful for tuning of your low’s, mid’s and high’s.The TK-lizer 2 also has a built-in M/S function which let you process the mid and side signals separately.You can also affect the stereo width of your music by using the level controls in M/S mode.

Commemorating two and a half decades of world-class tone shaping, the Manley 25th-anniversary Massive Passive delivers natural, organic sonic sculpting via a simple, passive design that's tailor-made for delicate applications. You'll appreciate this Massive Passive's mechanically detented Gain and Bandwidth knobs, ensuring easy repeatability, and its specially tailored filters. This is one of the most transparent-sounding hardware equalizers you'll ever run a mix through; it delivers amazing sound with zero coloration or overprocessing. Limited to 100 units, the Manley 25th-anniversary Massive Passive comes adorned with an eye-grabbing cobalt blue faceplate and custom laser-engraved artwork.

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.Specifications:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 Ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

The Chandler Limited EMI TG12413 Zener Limiter is the definitive TG limiter, released in honor of Abbey Road Studios' 75th birthday. The brainchild of Chandler Limited designer Wade Goeke, the Zener Limiter is based on the classic EMI circuits used to record The Beatles and Pink Floyd. This latest EMI limiter carries on the tradition of EMI limiters started in 1956 with the RS114 tube limiter, and continued with 1966's RS168 Zener Limiter (a component of the TG12345 console channel in 1968), and the TG12413 in '74. Start with the essence of the classic RS168, add modern functionality, and you have the Chandler Limited EMI TG12413 Zener Limiter.Chandler Limited EMI TG12413 Zener Limiter at a Glance:Classic compression and limiting, with modern flexibilityExercise iron-fisted control over your dynamicsYou get natural compression, scrumptious-sounding limiting - and a blend of the twoClassic compression and limiting, with modern flexibilityThe original TG Limiter was designed to replace both the Fairchild 660 and the EMI-modified Altec 436/RS124 - two certified classics, revered for their dynamics-shaping prowess. The Altec unit was known for its natural, organic compression, while the Fairchild - with its fast, sub-millisecond onset and extremely soft-knee compression curve - is perhaps the most lusted-after (and imitated) limiter ever made. The Chandler Limited EMI TG12413 Zener Limiter gives you the sonic mojo of these two classics - and goes several steps beyond.Exercise iron-fisted control over your dynamicsThe Chandler Limited EMI TG12413 Zener Limiter gives you the power to impose your will on your dynamics. Starting with the powerful vintage TG limiter circuits, Chandler Limited gives you added features and flexibility in the form of controls such as switchable input impedance (for hard or soft driving of the unit), 11-position attack, 21-position release, and side chain filtering, as well as Comp 1, Comp 2, and Limit settings.You get natural compression, scrumptious-sounding limiting - and a blend of the twoCOMP 1 is a 2:1 ratio with slower time constants than originally designed by EMI engineers to emulate the Altec 436/RS124 EMI-modified Altec compressors. Limit mode is much faster and designed to emulate the response curves of the revered classic Fairchild 660. COMP 2 is a new setting that puts you halfway between the two original settings, essentially giving you the compression curve of Comp 1, with the faster release times characteristic of Limit mode. Whether you use it for tracking or mastering, with its sonic pedigree and effective controls, the Chandler Limited EMI TG12413 Zener Limiter is a must-have for huge, punchy mixes.Chandler Limited EMI TG12413 Zener Limiter Features:Gives you the sonic mojo of two classics: the Fairchild 660 and the Altec 436/RS124COMP 1 mode is a 2:1 ratio with slower time constants reminiscent of the Altec 436/RS124Limit mode is faster and designed to emulate the response curves of the revered classic Fairchild 660COMP 2 is a new setting that puts you halfway between the two original settingsChandler 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 EMI TG12345 Curve Bender EQ is the definitive TG equalizer, released in celebration of Abbey Road Studios' 75th birthday. The brainchild of Chandler Limited designer Wade Goeke and Abbey Road senior engineer Peter Cobbin, the Curve Bender is based on the vintage EMI TG12345 console used on Beatles and Pink Floyd recordings. This latest EMI equalizer carries on the tradition of EMI EQs that began in 1951 with the RS56 (cheekily dubbed "the Curve Bender" by EMI designers), and continued with the 1968's TG12345 and TG12412 in '74. A classic design - the gorgeous-sounding TG12345 - juiced with it with modern features. That's the Chandler Limited EMI TG12345 Curve Bender.Chandler Limited EMI TG12345 Curve Bender EQ at a Glance:A fully featured version of a classic EQPowerful functionality gives your serious sound shaping mojoYou get the best of both worlds: vintage warmth, plus modern featuresA fully featured version of a classic EQThe Chandler Limited EMI TG12345 Curve Bender EQ is the embodiment of a dream. It was during his mixing of numerous Beatles-related projects (Anthology, Yellow Submarine, Imagine, etc.), it occurred to Peter Cobbin that having a fully featured and highly flexible version of the original desk EQ units would be invaluable. After Wade Goeke presented him with a working version of the legendary console equalizer, Peter realized he could "have it all," and set Wade to building the perfect beast.Powerful functionality gives your serious sound shaping mojoPeter had requested four bands, and filters based on the slopes of the original console - but with overlapping and expanded options. In the final production unit, the 9 selections of the original TG12345 had become 51 EQ points. Wade also added a multiply switch that increases boost/cut up to 13.5dB (as well as sharpening the Q), in addition to filters and bell/shelf selections on the high and low bands.You get the best of both worlds: vintage warmth, plus modern featuresThe result is the Chandler Limited EMI TG12345 Curve Bender - a classic equalizer from the glorious history of EMI and Abbey Road that's come full circle, morphing into a modern powerhouse EQ perfect for all your recording, mixing, and mastering needs.Chandler Limited EMI TG12345 Curve Bender EQ Features:A fully featured version of a classic EQThe best of both worlds: vintage warmth, plus modern features51 EQ pointsMultiply switch increases boost/cut up to 13.5dBHigh pass and lowpass filters and bell/shelf selections on high and low bandsChandler 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 RS124 packs three legendary Abbey Road RS124 compressors into one chassis. Over the decades since the Abbey Road RS124 graced Beatles' recordings, there were attempts to re-create the hardware from sketchy information; none of these efforts fully realized the elusive musical soul of the original EMI unit. Schematics relayed only so much of the design. So Chandler turned to historic units provided by Abbey Road, as well as handwritten modification memos that would prove essential in understanding the essence of the beast. They succeeded! The Chandler Limited RS124 nails the behavior and sonics of the original - which Peter Cobbin, Abbey Road's Director of Engineering, describes as "pure cream being drizzled slowly into and over a mix.”Chandler Limited RS124 Compressor at a Glance:Put a legendary compressor in your rackWhat the RS124 can do for youYour sonic obsession: Chandler's missionPut a legendary compressor in your rackThe Abbey Road RS124 is a holy-grail compressor. It has a lovely, colorful sound, and a colorful back story. In the late 1950s, EMI procured several Altec 436B tube compressors for their London studios. In 1960, EMI engineers modified them so heavily (and as they were never used outside of Abbey Road), they felt comfortable re-naming them, and thus, the RS124 was born. Imagine getting your hands on the compressor that was used on virtually every Beatles recording made at Abbey Road Studios! The RS124 lives on, courtesy of Chandler Limited. The Chandler Limited RS124 sounds incredible - and like no other compressor you've ever used.What the RS124 can do for youThe RS124's smooth, creamy sonic character and transient-taming prowess comes without a hint of muffling during heavy compression. Once you use the Chandler Limited RS124, you'll find out what Abbey Road engineers quickly realized: this is an indispensable tool for tracking, bus compression, mixing, and mastering. Along with original Input, Output, and Recovery (release) controls and the unique Hold setting, the Chandler Limited RS124 ups the ante with modern features like adjustable attack, selectable output impedance, and the cutting-edge SuperFuse. Google up some photos of Abbey Road Studios in the 1960s. You will see an RS124 in just about every control room. Wouldn't it be great to have one (or two) in yours?Your sonic obsession: Chandler's missionRecording engineers are always looking for fresh tonal colors when tracking, mixing, and mastering - it's an obsession. Chandler Limited feeds this addiction with their innovative take on the technologies of the past. They start with painstaking component selection. Every parts list reads like a 50-year-old document. Take it from Sweetwater - they just don't build 'em this way anymore. Hand-wired and assembled in their Shell Rock, Iowa, factory, Chandler Limited hardware utilizes only the highest-quality tubes and components, 100% discrete-transistor circuitry, and specially wound transformers. Aside from the fact that you'll have this gear forever, the weapons-grade build quality is a means to an end - the sound. Glorious, fat, supremely musical sound, with amazing headroom.Chandler Limited RS124 Compressor Features:A spot-on re-creation of the legendary Abbey Road RS124Optimized for use in modern studio environmentsVersatile design with multiple sonic personalitiesVariable Input and Output Attenuation controlsAttack: selectable, stepped (9 settings)Recovery: selectable, stepped (6 settings, plus Hold)2U steel rackmount chassisXLR input and output, transformer-balanced (custom-wound)Output impedance: 200/600 ohms, switchableSuperFuse (switchable mode)Hand-wired and assembled in Chandler's Shell Rock, Iowa, factoryChandler 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 TG1 Abbey Road Special Edition limiter is an authentic re-creation of the classic EMI TG12413 - used on The Beatles' Abbey Road and Pink Floyd's Dark Side of the Moon albums. Although the TG12413 was never offered commercially, Chandler Limited has resurrected the beast from the original design specifications and circuit board drawings as provided by Abbey Road Studios and EMI. This compressor/limiter features an all-discrete circuit with transformer-balanced input and output that produces smooth, pleasing distortion. For a distinctive Abbey Road sonic flavor, put Chandler Limited's TG1 Abbey Road Special Edition limiter in your rack.At a Glance:A re-creation of the amazing-sounding classicYou're in good company: The Beatles, Pink Floyd, The Stones...Pure vintage sound from discrete circuitry and transformer-balanced input and outputA re-creation of the amazing-sounding classicThe Chandler Limited TG1 Abbey Road Special Edition is a re-creation of the classic EMI TG12413 limiter used in custom EMI and Abbey Road recording and mastering consoles from the late 60's. The TG Limiter was originally designed to have the characteristics of the Fairchild 660/670, which was adored by many EMI engineers - including Geoff Emerick - but ended up with a very special sound all its own. These rare pieces were never commercially available and only EMI-owned studios had access to them. The Chandler Limited version has been remade from the original design information and circuit board drawings as provided by Abbey Road and EMI to ensure extreme authenticity.You're in good company: The Beatles, Pink Floyd, The Stones...TG equipment was used on many classic records and this Limiter was featured on every channel of TG consoles used to record The Beatles' Abbey Road, several Pink Floyd records, including Dark Side of the Moon, Paul McCartney, and the Rolling Stones. When you use Chandler Limited's TG1 Abbey Road Special Edition limiter, you'll immediately hear the sonic ancestry. This limiter sounds totally gear.Pure vintage sound from discrete circuitry and transformer-balanced input and outputThe Chandler Limited TG1 Abbey Road Special Edition limiter features an all discrete circuit with transformer-balanced input and output. The limiting element is a rarely seen diode network that produces smooth, pleasing distortion. The warm open sound, often compared to the holy grail Fairchild 670, is very punchy, while maintaining exceptional clarity and high frequency response. You've simply got to hear one in action to fully appreciate a limiter of this magnitude.Selectable Compression/LimitingTHD control lets you bypass Comp/Limiting but still pass audio through the circuitryTransformer balanced inputs and outputsNew input control provides better control at lower amounts of compressionChandler 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 RS660 tube compressor/limiter is Inspired by the classic program levelers used by engineers at EMI Abbey Road Studios in the 1960s. From the Beatles to early Pink Floyd, the historic Fairchild 660 and EMI RS124 compressors shaped the sound of countless iconic recordings that emerged from the legendary London facility. The eminently musical performance of these units stemmed from their “vari-mu” circuits, which generated program-dependent gain reduction by automatically adapting to the dynamics of the incoming signal to efficiently manage levels while allowing vocals and instruments to bloom with vibrancy and punch. Meticulously handcrafted by Chandler Limited, the RS660 builds upon the sonic magic of these rare, prized vintage compressors in an innovative modern design that advances the state of the art in dynamics control.The best of vintage and modernBuilt around the venerable 6386 mil-spec vacuum tube, the RS660 is, not surprisingly, engineered more efficiently than the coveted vintage units that inspired it. After all, today’s cutting-edge technology and advanced materials science enable high-precision design and manufacturing unimaginable back in the 1960s. No mere reproduction, however, the RS660’s elegant and refined compression circuit is painstakingly tuned to deliver a sound that combines the sought-after sonics of its Fairchild namesake along with modern flexibility, vanishingly low noise, and impeccable behavior, no matter how hard you push it. The RS660 is a professional tool that can tame the dynamics of any source, from subtle vocals to hard-hitting drums — and everything in between. The single-channel RS660 is also linkable to a second unit for stereo operation — ideal for pumping up drum buses and complete mixes.Built like a tankBack in the day, pro audio gear was handcrafted using military-grade materials and through-hole components — and that’s how Chandler Limited builds its equipment today in Shell Rock, Iowa. Accordingly, the RS660’s vintage-inspired circuitry is ensconced in a rugged dual-rackspace chassis with a stout faceplate, a beefy internal power supply, transformer-balanced XLR I/O, and selectable output impedance. As did the classic compressors that inspired it, the RS660 provides a tactile sensory user experience. The throw of its pots engenders a confident, spoon-in-honey feel that, at first touch, suggests you’re using a serious piece of high-end kit — and the world-class results confirm it. The Chandler Limited RS660 represents a significant advancement in the art of signal dynamics processing.Features:Designed in cooperation with EMI Abbey Road StudiosSingle-channel, linkableTransformer-balanced I/O, XLROutput impedance: selectable, 200/600 ΩContinuous input and output gain controlTime constant: 7 positions, steppedModes: THD, Comp, LimitStereo Link: switchable, 1/4-inch jackInternal power supply

Next Generation Harmonizer®Eventide’s flagship multi-effects processor, the H9000, continues our unbroken tradition of delivering industry-leading signal processing power to the pro audio community. The culmination of nearly fifty years of R&D, the H9000 comes loaded with over 1600 unique algorithms from recreations of beloved classics to Eventide’s latest and greatest effects. The wealth of included effects will offer users many years of exploration and inspiration.

Mastering Equalizer This is a unique equalizer – for several reasons. It has two times five fully parametric filter bands, each of which can be switched between constant Q and proportional Q! And there’s sheer unlimited headroom and a very special kind of EQ sound – thanks to 120V technology. Stepped Potentiometers Recall of all settings is easy thanks to the potentiometers with 41 steps. Cut/Boost & 1/4 Gain Each filter band can be boosted or cut up to 20 dB. If only minimal changes are required, the 1/4 Gain switch can be used to reduce the boost or cut range from +/-20 dB to +/-5 dB. Frequencies We have designed the frequency distribution to overlap widely between the bands, so that problematic frequencies can also be addressed with two bands. Bandwidth Q The bandwidth Q determines the steepness of bell characteristic. A small Q is a wide bandwidth and a high Q a narrow bandwidth. The labeling of the scale is divided into two parts. The values with white background refer to the proportional Q mode and the values without background refer to the constant Q mode. On/Off The orange button is used to switch the individual filter band on and off.  Constant & Proportional Q The blue button is used to toggle the Q mode. In constant Q mode, the amplitude is constant regardless of the selected bandwidth. This is ideal for eliminating interfering frequencies. In proportional Q mode, the amplitude is proportional to the bandwidth. It decreases with increasing bandwidth and vice versa. At the smallest bandwidth setting, the maximum amplitude value is +/- 20 dB, while the maximum amplitude decreases to +/- 2.8 dB at the largest bandwidth setting. This control behavior simplifies sensitive, creative processing and is musically very useful, since high amplitudes become increasingly unusable with increasing bandwidth. Auto Bypass For an objective evaluation of the edited music program, it makes sense not to switch between the original signal and the edited signal yourself, but to leave this to an automatic system. It is also an advantage that, for an optimal evaluation of the processing, one does not have to move from the stereo center and can concentrate fully on the program. With the help of the Interval control the switching time window can be determined. Turning it clockwise extends the time interval. Link The PQ is designed as a completely separate dual-mono, two-channel equalizer and can individually process two mono music programs simultaneously. It is of course also possible to edit a stereo program (left/right). If the Link function is activated, the functions LF, LMF, MF, MHF, HF On/Off and Con. Q/Prop.Q on both sides are switched together by the buttons on one side. This makes it possible to activate or deactivate a filter band or the Q characteristic on both sides of the equalizer with a single button operation. In Link mode, the right side controls the left side as factory preset. However, this can be adapted to individual working habits. If the channel switch of a channel is pressed until it flashes, this channel controls the other side from that moment on. Channel On/Off The orange button switches the entire channel on and off. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (+30 dBu, 1 kHz): 0.0005 % Noise (A-weighted): -94.3 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 3.15 mA Fuse for 115 V: T 6.3 A Power consumption: max. 100 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 177 x 300 mm Unit weight: 15.2 kg Shipping weight (incl. packaging): 18.7 kg

Προσθέστε τον ζωντανό και πλούσιο ήχο του vintage compression στο στούντιο σας με τον Wes Audio Vari-Mu Timbre. Το ισσοροπημένο κύκλωμα των λυχνίων είναι βασισμένο στην 6386 και στον STA-Level compressor.Χαρακτηριστικά: Carnhill μετασχηματιστές 6386 λυχνίες Λειτουργία Single / double / triple  Απόκριση Συχνοτήτων: 20Hz-30kHz Mέγιστο gain: 45 dB Μέγιστο gain reduction: 40 dB Διαλογέας 6 θέσεων release time Επιλέξιμο side-chain και high-pass φίλτρο Λειτουργία Bypass  Λειτουργία Link  Balanced XLR είσοδος και έξοδος. Format: 19" / 2HE Διαστάσεις: 483 x 88 x 235 mm Βάρος: 7 kg

Συνδιάζοντας τον πλούσιο, ζωντανό ήχο των vintage compressors με τον καθαρό και ακριβή χαρακτήρα των μοντέρνων επεξεργαστών, ο Wes Audio BETA76 FET είναι ο απόλυτος compressor/limiter για κάθε μουσικό studio. Χαρακτηριστικά:  Δύο (2) λειτουργίες: Modern/Vintage Ένα (1) κανάλι Ρυθμιστικά: Attack, Release, Ratio switches, Modern/Vintage input modes Attack time: 20 ms - 800 ms Release time: 50 ms - 1100 ms Ratio: 4:1, 8:1, 12:1, 20:1 True Bypass Απόκριση Συχνοτήτων: 20 Hz - 20 kHz (+/- 1 dB) Αντίσταση εξόδου: 600 Ohm SC high-pass filter - 60, 90, 150 Hz Signal to noise ratio SNR > 83 dB Ενισχυμένη λειτουργία σύνδεσης Συνδεσιμότητα: 1 x XLR (είσοδος), 1 x XLR (έξοδος), 6.3 mm jack link connector Format: 19 "/ 2 U Διαστάσεις: 88 x 483 x 235 mm Βάρος: 6 kg

Xαρακτηριστικά  :   Classic Diode Bridge Tone Αποκτήστε τον punchy ήχο ,που χρησιμοποιείται σε αμέτρητες επιτυχίες τα τελευταία 50 χρόνια.   Advanced timing controls Προσαρμόστε το compression envelope σας με τον ενοποιημένο έλεγχο χρονισμού, το οποίο επιτρέπει μεγαλύτερο εύρος απαντήσεων , από ότι σε  vintage μονάδες ή κλώνους.   Custom Transformers και Class-A Line Eνισχυτές Η vintage ζεστασιά συναντά το βελτιωμένο headroom και τις ρυθμίσεις ακριβείας του ανανεωμένου Rupert Neve Line stage μετασχηματιστή .   'Eλεγχος 31- Θέσεων Aκριβής ανάκληση και αντιστοίχηση  ρυθμίσεών  , ταχύτατα και εύστοχα    Eνσωματωμένο parallel compression Eσωτερικό blend control που επιτρέπει , πιο δραματικές ρυθμίσεις του compressor , για την επίτευξη του επιθυμητού  χρώματος   Full-Wave Sidechain Detection Bελτιωμένο από αυτό της vintage συσκευής , half-wave σχέδιο , ο ανανεωμένος sidechain detector προσφέρει εμφανέστατα περισσότερη ακρίβεια .     Stereo Linking Λειτουργήστε τους compressors σας σε mono ή stereo configurations    Eσωτερικό Universal Power Supply Διαθέτει EIC σύνδεση για world-wide AC power από 90-240V ενσωματωμένο στο 1U rack-mountable σασί . Tεχνικά χαρακτηριστικά Aντίσταση εισόδου : 10 kΩ Aντίσταση εξόδου : 40 Ω Maximum Input Level (+4dBu Selected): +26.7 dBu typical Maximum Output Level: +26.7 dBu typical Noise (22 Hz - 22 kHz BW): -104 dBu typical Aπόκριση συχνότητας :  (10 Hz to 120 kHz): +/- 0.25 dB typical THD+N @1 kHz @ Maximum Level (22 Hz - 22 kHz BW): 0.0008% typical Xαρακτηριστικά θορύβου του Compressor Noise @ 0dB Make-Up Gain (22 Hz - 22 kHz BW): -84.5 dBu typical Noise @ +20dB Make-Up Gain (22 Hz - 22 kHz BW): -64.5 dBu typical Xαρακτηριστικά χρονισμού του Compressor   Σημείωση : Oι μετρήσεις χρόνου αναπαριστούν  το πλήρες εύρος που επιτυγχάνεται  μεταξύ 1.5:1 and 8:1 Ratio και  FAST Mode FAST Attack 250μS - 2 mS // Release 100mS - 200mS typical MF (MEDIUM FAST) Attack 1mS - 5mS // Release 100mS - 200mS typical MED (MEDIUM) Attack 3mS - 18mS // Release 350mS - 700mS typical MS (MEDIUM SLOW) Attack 5mS - 40mS // Release 600mS - 1S typical SLOW Attack 10mS - 80 mS // Release 800mS - 1.5S typical AUTO Attack 5mS - 40mS // Release T1 400-900mS, T2 1-2S typical Διαστάσεις :  (Πx B x Y) 48.3 x x 20.9 x 4.2 cm

 Xαρακτηριστικά:   Stereo link ή 2xmono 75V Variable gain  -6 dB έως +20 dB Εξαιρετικά ευέλικτος διπλός μονοφωνικός ή στερεοφωνικός compressor Ρυθμιζόμενη parallel compression Έλεγχος υφής για τη λειτουργία Silk-  και Silk + Music limiter Stereo field editor Eυέλικτo routing που επιτρέπει την ανεξάρτητη δυναμική επεξεργασία του mid-end side καναλιού Extensive level display Υποδοχές εισόδου / εξόδου: XLR Side chain send / return connector: Υποδοχή 6,3 mm Διακόπτης Ground lift 19 "(2U) Βάρος: 9,7 κιλά

Ένας ιδανικός τρόπος για να αφαιρέσετε τον ανεπιθύμητο θόρυβο από τον ήχο σας Παρέχει 2 κανάλια καθαρού σήματος για περισσότερο gain χωρίς to "φόβο" του feedback Έχει παρόμοια λειτουργία με το Noise Gate αλλά λειτουργεί με μια πιο μεγαλύτερη ακρίβεια Αυτόματη ανίχνευση σήματος για άμεση απόκριση  Τα απλά και εύχρηστα χειριστήρια συμβάλουν σε άμεσα αποτελέσματα

Βασισμένο στα θρυλικά EQ της δεκαετίας του '60 και του '70, ο παθητικός ισσοσταθμιστής Wes Audio LC-EQP θα δώσει ζωή στην μουσική σας. O συνδιασμός του αναλογικού signal path με τους μετασχηματιστές Carnhill διατηρεί την ηχητική ακαιρεότητα του κομματιού σας κατά την ισσοστάθμιση.Χαρακτηριστικά: Τύπος: Υβριδικό Carnhill μετασχηματιστές Αντίσταση εισόδου: > 1.5 kOhm Αντίσταση εξόδου:  150 ohms Μέγιστη ένταση εξόδου: +22dBu Aπόκριση Συχνοτήτων: 5 Hz - 65 kHz (-3 dB) SNR ratio: 90 dB Λειτουργία Bypass Περιοχές: 2 (Dedicated Boost/Cut) Balanced XLR είσοδος και έξοδος Εσωτερική τροφοδοσία 115/230V Format: 19 "2U Διαστάσεις: 483 x 88 x 237 mm Βάρος: 7 kg

Νέα έκδοση S γραφικού equalizer 1/3 της οκτάβας, 2x31 περιοχών constant Q. Επιλεγόμενο εύρος αυξομείωσης 6/12dB, φίλτρο αποκοπής χαμηλών συχνοτήτων στα 40Hz με 12dB ανά οκτάβα. Iσορροπημένες (balanced) είσοδοι και έξοδοι με XLR & TRS jacks, δυναμική περιοχή 108dB, 2U.

Νέα έκδοση S γραφικού equalizer 2/3 της οκτάβας, 2x15 περιοχών constant Q. Επιλεγόμενο εύρος αυξομείωσης 6/12dB, φίλτρο αποκοπής χαμηλών συχνοτήτων στα 50Hz με 12dB ανά οκτάβα. Ισορροπημένες (balanced) είσοδοι και έξοδοι με XLR & TRS jacks, δυναμική περιοχή 108dB, 1U.

If there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor. From the very first commercially released SSL 4000B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has always been the stalwart of the console centre section. For many of the world’s top engineers and producers, the Bus Compressor continues to be the most relied upon processing tool for making mixes sound bigger and more complete, with drive and energy from adding that legendary SSL glue and punch.

The COMP-554 MKII is the 500 series rack version of the COMP-54 MKIII with some additional features. The COMP-554 MKII is a one-channel vintage style compressor for the 500-format. The signal path uses only discrete components like resistors, capacitors and transistors. The input and output are transformer balanced and the unit also uses a third interstage transformer. This is the way audio components were built before integrated circuits became available. IC´s are small and cheap and they are widely used in most modern designs. It is clear though that audio components built with modern technology doesn´t always provide the best perceived sound quality or character that the modern user desires.On the contrary, the subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market. The class-A circuit used in the COMP-554 MKII is similar to the one in the classic 2254 compressor that was designed in 1969. It quickly became a legend due to it´s totally unique sound character that is warm, smooth, sweet and musical.These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on many sound sources and in many genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.

The COMP-3A Jr is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors, diodes and transistors. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn’t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often preferred over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The circuit used in the COMP-3A Jr is based on classic design elements and it uses an integrated optocoupler to control gain. This gives the COMP-3A Jr a unique compression characteristics. In addition, the vintage style signal path adds a wonderful and musical character to the sound. The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made vintage products with a similar design favorites of engineers and musicians worldwide.A classic sound and compression style is now available at a very affordable price point with the COMP-3A Jr.Features:Vintage style electronics. No integrated circuits in the main audio signal path.Transformer balanced input and output. Can drive almost any load, balanced or unbalanced. The maximum output level is 25 dBu. – Uses an integrated optocoupler to control gain. The fastest attack time is about 1 ms.Very simple to operate with only two main controls, Gain Makeup andGain Reduction.Three-position TIME switch to select different combinations of Attack- and Release time.Selectable jumpers inside the unit to increase the timing on TIME-switch position B and C.Hardwire bypass switch for easy comparisons.XLR and TRS input and output jacks for flexible connections.Link jack for connecting to another unit for stereo operation.All external controls located on the front panel.External power supply to avoid interaction with the audio circuits and transformers.Compact 1RU quarter rack format. Up to four units can be mounted in our19-inch rack kit, the UNITE MKII.A solid build quality that will last many years of normal use.

The SR22 Dual Channel Compressor features two channels of API's patented award-winning compressor circuit in a rackmount unit with internal power supply. This same compressor circuit was originally designed into the legendary ATI Paragon analog live mixing console. Each channel includes the patented THRUST® circuit, which protects the sensitive high frequency content of the audio signal, even under the most vigorous of compression ratios. The perfect companion to the new SR24 Dual Channel EQ, the SR22 provides comprehensive, easy-to-use control along with classic analog VU meters for monitoring output and gain reduction. The two channels can also be linked for use as a stereo compressor with true RMS power summing of the left and right signals.

The SR24 is a two channel, four band equalizer in a two rack-space chassis. With a dedicated knob and/or switch for each control function, the SR24 is easy to use; by utilizing continuously-variable controls for both the frequency and boost/cut, the SR24 can be very precise in applying equalization to the selected audio material. The SR24 circuit design is deeply rooted in API's history. From the late 1970's to the early 1980's, an audio company called "APSI" manufactured consoles and equalizers. Their 562 module was a 4-band, fully parametric equalizer which was designed by APSI and sold through API. Over the last several decades, these EQ modules remained a favorite among many studio engineers, but have become increasingly difficult to find. The SR24 is a faithfully re-engineered version of the original 562, offering the user 2 channels of classic analog EQ in one rackmount unit.

The API Select T25 is a classic 2-channel, FET feedback-style compressor/limiter with a Class-A tube output stage that utilizes a custom API transformer. Built with 12AT7WC and 12BH7 dual-triode vacuum tube, the T25 represents a new direction in API's line of compressors. It offers the user a powerful and flexible feature set, including the ability for use in either dual mono or stereo mode, and is carefully engineered to deliver classic tube performance. The T25 excels at delivering the unmistakable sound of API and features our industry-exclusive Five Year Warranty.

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

The CX2310 stereo 2-way/mono 3-way crossover provides amazing-accurate audio frequency separation, thanks to its state-of-the-art circuitry, superior-grade components, ultra low-noise op amps and balanced I/O connectivity. Additionally, the CX2310 features an independently-adjustable Subwoofer Output, effectively providing an extra low-frequency band a control range from 10 - 235 Hz. By using 1% metal film resistors, along with other extremely tight-tolerance components, the CX2310 is able to guarantee surgically-precise frequency selection with incredibly-low thermal noise. Put simply, the easy-to-use SUPER-X PRO CX2310 is one of the best-sounding crossovers in its class! Sound Quality When a sound system is properly tuned, it becomes powerful, balanced and efficient. Bass content is punchy and tight, with vocals and instruments that are rich, crisp and well defined. The CX2310 crossover’s accurate signal processing protects critical loudspeaker components and improves overall system efficiency. All Input and Output connections are balanced/unbalanced XLR and feature 25 Hz Low Cut filters for low-frequency driver protection – plus Mute and Phase Invert switches, making troubleshooting even a large system – virtually effortless! What’s a Crossover? Chances are if you’re reading this, you already know what a crossover is – and you know that you need one. But if you are new to multi-way PA systems, here's a brief overview. Loudspeakers (which we call transducers) convert electrical signals into sound waves. And no matter how well a transducer is designed or made, it simply cannot reproduce the entire audio spectrum all by itself. Low-frequency sounds tend to push a transducer to the maximum, making it impossible for that same transducer to reproduce the treble content with the sound quality it deserves. (Try singing high falsetto next time you’re bench-pressing your limit!) That's why high-quality sound systems use multiple speakers (woofers and tweeters) to spread out the work. While the woofer (usually the larger transducer) does all the heavy lifting, the tweeter can easily handle the high-frequency content. Three and four-way systems distribute the work even more, allowing the individual transducers to reproduce the frequency range for which they were designed. It is the crossover’s function to divide these tasks between the various amplifiers and transducers. Divide and Conquer The CX2310 provides two modes of operation: 2-way stereo, for Left and Right Lows (woofers) and Highs (tweeters); and 3-way mono, for Lows, Mids and Highs. In either mode, there is an additional output provided for a mono Subwoofer, with its own Frequency and Level controls. This extra feature effectively turns the CX2310 into a stereo 2-way + mono 1-way, or a mono 4-way frequency crossover. The Subwoofer Output is presented in mono, since people perceive extremely-low bass frequencies as being omnidirectional. For your convenience, the CX2310’s front panel features an elegant and easy-to-read LED matrix, so you can see at a glance which operating mode has been selected – and which controls are currently active.

Expressive EQ with Vintage Smoothness! The magic behind the BAX EQ is decades in the making. Inspired by the classic Baxandall shelving curves — renowned by mastering engineers in the 60s and 70s for smooth, musical sloping and a unique sonic signature — the Dangerous Music team went to work creating the modern BAX EQ.This unique stereo equalizer features stepped controls for repeatability and identical stereo operation. When what you want is an expressive equalizer — backed up with audiophile accuracy — you've found it. Treat your mixes to the Dangerous Music BAX EQ.Dangerous Music BAX EQ Stereo Mastering and Mix Bus Shelving Equalizer Features:Inspired by the Classic P. J. Baxandall Shelving CurvesStepped controls throughout for repeatability and identical stereo operationBroad Q Shelving7-position High Pass and Low Pass Filters — 2-pole Butterworth configuration (12 dB/oct)8-position High and Low Frequency Select+/- 5dB Cut and Boost controls in 1/2dB steps

To survive and remain competitive, today’s modern studio must be a flexible and agile facility that can immediately adapt to different workflows.  Tracking, mixing and mastering services may all be performed in-house, sharing the same outboard gear.The Dangerous Liaison makes this possible by allowing unprecedented access to your outboard equipment.  Plug in your gear and start creating different patches.  Instantly audition changes and store these custom arrangements as presets to use again, instantly, anytime. True hard-wire bypass relays remove gear entirely from the signal path, including outboard that does not have a built-in bypass.  Mastering grade components switch instantly and silently, allowing for true A/B comparisons without coloration or latency.  Pre- and post-processing monitor outputs make it easy to instantly audition and evaluate options.Unlock the potential of all your outboard on every session, every time, in precise, repeatable combinations.6 Stereo Insert Loops, Assignable to 2 Stereo Busses Flexible and Potent Parallel Processing LoopRoute, Switch, Matrix, Flip & Audition InstantlyRecall any Tracking, Mixing or Mastering ConfigurationSeamlessly Integrates with Dangerous MasterFrequency Response (Passive Section)  +0, -0.1dB from 10Hz to 100kHzFrequency Response (Active Section) +0, -0.1dB 10Hz-100kHzMaximum level > +28dBuNoise floor < -94.5dBu 22Hz-22kHz bandwidthTHD+N < 0.002%IMD < 0.003%Crosstalk rejection (Passive Section) > 124dBCrosstalk rejection (Active Section) > 113dBInput Impedance: 20K OhmsOutput Impedance: 20 Ohms

Mastering Equalizer This is a unique equalizer – for several reasons. It has two times five fully parametric filter bands, each of which can be switched between constant Q and proportional Q! And there’s sheer unlimited headroom and a very special kind of EQ sound – thanks to 120V technology. Stepped Potentiometers Recall of all settings is easy thanks to the potentiometers with 41 steps. Cut/Boost & 1/4 Gain Each filter band can be boosted or cut up to 20 dB. If only minimal changes are required, the 1/4 Gain switch can be used to reduce the boost or cut range from +/-20 dB to +/-5 dB. Frequencies We have designed the frequency distribution to overlap widely between the bands, so that problematic frequencies can also be addressed with two bands. Bandwidth Q The bandwidth Q determines the steepness of bell characteristic. A small Q is a wide bandwidth and a high Q a narrow bandwidth. The labeling of the scale is divided into two parts. The values with white background refer to the proportional Q mode and the values without background refer to the constant Q mode. On/Off The orange button is used to switch the individual filter band on and off.  Constant & Proportional Q The blue button is used to toggle the Q mode. In constant Q mode, the amplitude is constant regardless of the selected bandwidth. This is ideal for eliminating interfering frequencies. In proportional Q mode, the amplitude is proportional to the bandwidth. It decreases with increasing bandwidth and vice versa. At the smallest bandwidth setting, the maximum amplitude value is +/- 20 dB, while the maximum amplitude decreases to +/- 2.8 dB at the largest bandwidth setting. This control behavior simplifies sensitive, creative processing and is musically very useful, since high amplitudes become increasingly unusable with increasing bandwidth. Auto Bypass For an objective evaluation of the edited music program, it makes sense not to switch between the original signal and the edited signal yourself, but to leave this to an automatic system. It is also an advantage that, for an optimal evaluation of the processing, one does not have to move from the stereo center and can concentrate fully on the program. With the help of the Interval control the switching time window can be determined. Turning it clockwise extends the time interval. Link The PQ is designed as a completely separate dual-mono, two-channel equalizer and can individually process two mono music programs simultaneously. It is of course also possible to edit a stereo program (left/right). If the Link function is activated, the functions LF, LMF, MF, MHF, HF On/Off and Con. Q/Prop.Q on both sides are switched together by the buttons on one side. This makes it possible to activate or deactivate a filter band or the Q characteristic on both sides of the equalizer with a single button operation. In Link mode, the right side controls the left side as factory preset. However, this can be adapted to individual working habits. If the channel switch of a channel is pressed until it flashes, this channel controls the other side from that moment on. Channel On/Off The orange button switches the entire channel on and off. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (+30 dBu, 1 kHz): 0.0005 % Noise (A-weighted): -94.3 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 3.15 mA Fuse for 115 V: T 6.3 A Power consumption: max. 100 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 177 x 300 mm Unit weight: 15.2 kg Shipping weight (incl. packaging): 18.7 kg

Passive Mastering Equalizer In the PASSEQ we have revived the concept of the passive equalizer that was used in the 50’s and 60’s. The charming sound of this vintage technology combined with the modern 120V technology results in a very special equalizer. Only one filter​ All control functions are part of only one passive filter. There are three frequency ranges: Low Freq / Mid Freq / High Freq Each with a cut control on the left and a boost control on the right. In the middle is the output control. Design A passive filter has no amplification stages. It can therefore only be lowered. If one frequency is to be boosted, all the others must be lowered. Behind the filter there is a stage that makes up for the lowered overall level. Since low noise is particularly important here, since up to 20 dB can be made up for, the 120V technology comes into its own. The entire passive filter (variable resistor, capacitor and coil) provides a very nice sound characteristic. Besides the choice of components, the charging behaviour of the capacitors and the saturation behaviour of the coils play a major role in this. The resulting relative inertia compared to potentially very fast active filters is the reason for a pleasant, musically advantageous sound characteristic. We would choose smoothness and transparency as well as strikingly silky highs and pithy basses as a description that suits our perception. During fine-tuning, through component selection, in countless listening sessions, the emphasis was on achieving the most musical sounding curves possible, which, for example, need fear no comparison with a Pultec EQ from the 1950/60s. Only without all the disadvantages of a 60 year old original, such as the very high background noise, but above all the very limited frequency selection. Another highlight of the PASSEQ is the HF+ band, which has been extended by the frequencies 25 kHz and 35 kHz and sounds so incredibly good that you don’t want to switch it off. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -60 dBu Frequency range (-3 dB): 10 Hz – 200 kHz Crosstalk (1 kHz): -108 dBu THD + N (+30 dBu, 1 kHz): 0.0012 % Noise (A-bewertet): -95.2 dBu Dynamic range: 134.5 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 15 VA Dimensions & Weight W x H x T (W x H x D (width x height x depth) x Höhe x Tiefe): 482 x 132 x 300 mm Unit weight: 10.2 kg Shipping weight (incl. packaging): 14 kg

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

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

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

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