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Equalizers

The <b>A Designs HM2EQ Hammer</b> is a Dual Mono three band Tube EQ engineered with an ingenious filtering system that allows the even harmonics to flow thru the 12AT7 tubes filtering out unwanted noise. It is designed to sound musical for larger EQ functions typically found on expensive mastering EQs.   Continuously variable boost and cut controls but fixed freq settings.<br><br>
The smoothness of its operation and the musical tones generated by the HAMMER makes this unit an invaluable tool for any studio. “You don’t know it’s there until you take it out” Tony Shepperd.

<br><br><b>Applications:</b><br>  It is designed for applying broad shaping eq across many octaves while sounding beautiful without adverse effects on tone.  Very low noise floor.  It also has Hi cut at 8Khz and Lo cut at 84Hz filters. There is no other EQ available quite like this.   <br><br><b>Features:</b><ul>
<li>Color: Smooth and super fidelity EQ!   Suitable for very high end applications.    
</li><li>Output Tube: 12AT tube, transformerless
</li><li>3 band dual mono EQ,  with in/out switch on each channel  
</li><li>Low cut at 84Hz
</li><li>Hi cut at 8000Khz
</li><li>Gain: +12dB, Cut: -12dB
</li></ul>
<br><br>
<b>Check out these Quicktime Movies to SEE and HEAR A Designs in action!</b><br>
<i>Right click to save</i><br><br>

<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Sax.mov" target="blank">Recording Saxophone with A Designs Pacifica and EM-PEQ</a>
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<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Piano.mov" target="blank">Recording Piano with A Designs Pacifica and EM-PEQ</a>
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<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/Dylan_AcousticGuitar.mov" target="blank">Recording Acoustic Guitar with A Designs Blue and Hammer</a>
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<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_MaleVox.mov" target="blank">Recording Male Vocals with A Designs Pacifica</a>
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<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_FemaleVox.mov" target="blank">Recording Female Vocals with A Designs Hammer</a>
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<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/Dylan_JCM800.mov" target="blank">Recording Electric Guitar with A Designs Hammer</a>

A Designs Audio HM2EQ Hammer
Dual Mono 3 Band Tube EQ

The <b>API 215L</b> is a unique passive, sweepable filter, designed specifically to contour the sound in such a way that it sounds natural and seems as if it <i>"always sounded that way".</i> Its extreme flexibility, repeatable settings and superb sound make it ideal for all studio, live sound and broadcast applications.<p></p>
<p>The 215L design is a passive low pass filter with a slope of only 6 dB per octave, and a passive dual hgh pass filter with a slope of 12 dB per octave. The filters are isolated from each other with the same discrete transistor buffer used in the famous 550 series equalizers. This minimizes interaction between the filters, as well as providing a low impedance source for the filter following the buffer.</p>
<p>The input section is a balanced circuit using the API 2510 all discrete op-amp, minimizing the loading effect on any device plugged into it. The output stage is a transformer balanced output, driven by the all discrete API 2520 op-amp.</p>
<p>The filters are both continuously adjustable, with a range from 20 Hz to 20 kHz in two bands. The low pass filter has a range from 500 Hz to 20 kHz, and the high pass filter has a range from 20 Hz to 600 Hz. This covers a broad range of frequencies throughout the eintire audio spectrum.</p>
<p>Because of the subtle nature of the 215L filter, it finds a home with uses like rolling off the low end of a hi-hat, where a natural sound is desired, not the usual "phase-shifter" sound of a 18 to 24 dB per octave filter found on most consoles. It can also be used to thin out room mics, without a complete loss of low end, again, resulting from steep filter circuits.</p>
<p>The 215L can be used in the Legacy Series Consoles or in the L200 Rack. The 215L Filter makes use of the 2520 and 2510 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.
</p><p><b>Features</b> 
</p><ul>
<li>Wide range 6 dB per octave LOPASS control 
</li><li>Wide range 12 dB per octave HIPASS control 
</li><li>Balanced input stage 
</li><li>Passive filter design for smooth tone<br>
</li><li>Unity gain throughout 
</li><li>Hard Wire BYPASS switch 
</li><li>Transformer Coupled Output to +28 dBu 
</li><li>All Discrete Design</li></ul>
<B>10 Year Warranty</B><BR>
We double the standard API 5 year warranty on this item. 10 year coverage!
<BR><BR>
*Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.

API 215L
Discrete HP/LP Sweep Filter

Few equalizers enjoy the respect and admiration of the coveted <b>API 550A</b>. Designed by the now legendary Saul Walker in the late 60's, the discrete 550A was first used as a modular OEM equalizer. As the industry rapidly embraced the sonic quality of the 550A, it quickly found its way into many custom console designs by Frank DeMedio and other leading engineers. Many of these consoles are still in use today. <br><br>Forty years later, the 550A remains the standard against which other EQs are measured, and it has played a major role in the recording industry for decades. Still copied but never duplicated, the 550A became API's standard channel module EQ when the company began manufacturing consoles in 1971. With virtually all existing units spoken for, popular demand for this EQ resulted in API finally resuming production in 2004. <br><br>The 550A provides reciprocal equalization at 15 points in 5 steps of boost to a maximum of 12dB of gain at each point. The fifteen equalization points are divided into three overlapping ranges. The high and low frequency ranges are individually selectable as either peaking or shelving, and a band-pass filter may be inserted independently of all other selected equalization settings. Frequency ranges and boost/cut are selected by three dual-concentric switches and a push-button "in" switch allows the EQ to be silently inserted into the signal path. A small toggle switch is used to engage the band-pass filter.<br><br>The combination of Walker's incomparable 2520 op-amp, and his "Proportional Q" circuitry gives the 550A user an uncomplicated way to generate acoustically superior equalization. <br><br>With the long-awaited reissue of this unit, an EQ that has had such a part in the history of recording is continuing to make history in today's music. <br><br><b>Features</b> 
<ul>
<li>3 bands of classic API equalization 
</li><li>Each band offers 5 API selected frequency centers 
</li><li>Reciprocal and repeatable filtering 
</li><li>Maximum 12 dB of boost/cut per band 
</li><li>EQ bands 1 and 3 offer shelf/peak switching 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Traditional API fully discrete circuit design 
</li><li>High headroom: +30 dB clip level </li></ul>
<B>10 Year Warranty</B><BR>
We double the standard API 5 year warranty on this item. 10 year coverage!
<BR><BR>
*Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.</api_warranty>

API 550A
Discrete, Classic 3-Band EQ

Few equalizers enjoy the respect and admiration of the coveted <b>API 550A</b>.
Designed by the now legendary Saul Walker in the late 60's, the
discrete 550A was first used as a modular OEM equalizer. As the
industry rapidly embraced the sonic quality of the 550A, it quickly
found its way into many custom console designs by Frank DeMedio and
other leading engineers. Many of these consoles are still in use today.
<br><br>Forty years later, the 550A remains the standard against which
other EQs are measured, and it has played a major role in the recording
industry for decades. Still copied but never duplicated, the 550A
became API's standard channel module EQ when the company began
manufacturing consoles in 1971. With virtually all existing units
spoken for, popular demand for this EQ resulted in API finally resuming
production in 2004. <br><br>The 550A provides reciprocal equalization
at 15 points in 5 steps of boost to a maximum of 12dB of gain at each
point. The fifteen equalization points are divided into three
overlapping ranges. The high and low frequency ranges are individually
selectable as either peaking or shelving, and a band-pass filter may be
inserted independently of all other selected equalization settings.
Frequency ranges and boost/cut are selected by three dual-concentric
switches and a push-button "in" switch allows the EQ to be silently
inserted into the signal path. A small toggle switch is used to engage
the band-pass filter.<br><br>The combination of Walker's incomparable
2520 op-amp, and his "Proportional Q" circuitry gives the 550A user an
uncomplicated way to generate acoustically superior equalization. <br><br>With
the long-awaited reissue of this unit, an EQ that has had such a part
in the history of recording is continuing to make history in today's
music. <br><br><b>Features</b> 
<ul><li>3 bands of classic API equalization 
</li><li>Each band offers 5 API selected frequency centers 
</li><li>Reciprocal and repeatable filtering 
</li><li>Maximum 12 dB of boost/cut per band 
</li><li>EQ bands 1 and 3 offer shelf/peak switching 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Traditional API fully discrete circuit design 
</li><li>High headroom: +30 dB clip level </li></ul>
<B>10 Year Warranty</B><BR>
We double the standard API 5 year warranty on this item. 10 year coverage!
<BR><BR>
*Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.</api_warranty>

API 550A (SW) - Saul Walker Edition
Discrete, Classic 3-Band EQ

The <b>API 550 discrete 4-band EQ</b> played a major part in the history of music recording in the USA during the 60's and 70's. Originally conceived for use in API's consoles, this latest 550 "B" version is a continuation of the original 1967 550 through the 550A with one additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 op-amp), the 550B artfully blends the past with the present. So many hit records still depend on the unique 550 sound, that the 550B will be an invaluable tool you will turn to again and again. The API 550B—unlike any other you will ever use. 
<p>Many EQs today offer a huge assortment of complex features, but the API 550B provides exactly the right number of controls to the professional engineer. Deceptively simple at first glance, the 550B's four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device. Each band offers 7 switchable filter frequencies spanning 4 to 5 octaves, selected through experience by a "who's who" list of the industry's most proficient engineers. This re-issue design has been taken from the original blueprints and spec control drawings from the API archives.</p>
<p>Making use of "API Proportional-Q", a design introduced by API in the 60's, the 550B intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings—without the need for additional bandwidth controls. This feature minimizes the "phase-shift" sound found in many equalizers. The reciprocal nature of the 550B enables the user to "undo" what has been done previously.</p>
<p>The benefits of the API 550B are most obvious to those who work with EQ on a continuous basis. The 550B's ability to affect or reverse tonal modifications is perhaps the most important feature. If major tonal restructuring is required, the extraordinary headroom made possible with API's 2520 op-amp offers predictable and gentle "analog" performance under duress. With a surprisingly wide range of tonal variations, you can do no better than the API 550B.</p>
<p><b>Features</b> </p>
<ul>
<li>4 bands of famous-sounding equalization 
</li><li>Each band offers 7 API-selected frequency centers 
</li><li>Reciprocal and repeatable filtering 
</li><li>12 dB of boost/cut per band 
</li><li>EQ bands 1 and 4 offer shelf/peak switching 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Traditional API fully discrete circuit design 
</li><li>High headroom: +30 dB clip level 
</li><li>Re-issue of 1967 API 550 EQ with an extra band</li></ul>
<B>10 Year Warranty</B><BR>
We double the standard API 5 year warranty on this item. 10 year coverage!
<BR><BR>
*Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.</api_warranty>

API 550B
Discrete 4-Band EQ

The <b>API 560</b> was originally conceived for use in API consoles of the 60's and 70's.  The API 560 re-issue is a unique device designed to accomplish tasks that no other EQ can do. It delivers that "one-of-a-kind" API sound, precision easy-set filtering and high headroom in a very small package. Extremely fast to set and reset using accurate zero detents, the curve-shaping potential of the 560 is unmatched. At home both in field recording and the studio environment, this "new-old" version is a re-issue of the original 560 with improved resolution in the critical area of ±4 dB. Incorporating API's exclusive circuitry and proprietary components (such as the legendary 2520 op-amp), the re-issue of the 560 artfully blends the past with present—layout with function. 
<p></p>
<p>The API 560 was created to fit all applications for the professional engineer. For most of the 70's and 80's, every remote recording console that API manufactured used this versatile graphic EQ. It is also ideal for studio and live sound applications, where a professional result is required. This re-issue design has been taken from the original blueprints and spec control drawings from the API archives.</p>
<p>The large number of available EQ bands makes the 560 an ideal companion to parametric EQ, as well as ideal for signal sweetening and room tuning. Not lacking in features, the 560 makes use of API's unique "Proportional Q" design introduced by API in the 60's, intuitively widening the filter bandwidth at lower boost/cut levels and narrowing it at higher settings. In addition, boost and cut characteristics are identical, so previous actions can be undone.</p>
<p>The extraordinary headroom made possible with API's proprietary 2520 op-amp offers predictable and wonderful "analog" performance under duress. With a wider range of 500-series mounting options, the 560 will be a valuable asset to your performance-critical applications.</p>
<p>The 560 Graphic Equalizer makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.</p>
<p><b>Features</b> </p>
<ul>
<li>10 bands of API proprietary equalization 
</li><li>Familiar graphics operation on one-octave centers 
</li><li>12 dB of boost/cut per band 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Additional resolution within the ±4 region 
</li><li>Center detent for reliable reset 
</li><li>Traditional API fully discrete circuit design 
</li><li>Silent bypass switch 
</li><li>Re-issue of the 1969 API 560 EQ</li></ul>
<B>10 Year Warranty</B><BR>
We double the standard API 5 year warranty on this item. 10 year coverage!
<BR><BR>
*Double Warranty Offer is for qualifying orders purchased on or after July 1st, 2009.</api_warranty>

API 560
10-Band Graphic EQ

The <B>Arsenal Audio R24 </B>Dual Channel, 4-band equalizer, features two identical channels of equalization in a rack mounted unit with internal power supply. The eq features continuously variable adjustment of frequency and gain using individual controls.<BR><BR>

<B>Features:</B>
<UL>
<LI>4 bands of equalization modeled after the classic APSI model 562 EQ 
<LI>Each band offers continuously variable control of frequency and gain, using separate knobs 
<LI>12 dB of boost/cut per band 
<LI>All 4 bands are peak/dipping parametric configuration 
<LI>Custom transformer balanced output 
<LI>Fully balanced 1/4" and XLR input and output 
<LI>High headroom +24 dB clip level </UL>
The EQ-R24 offers two channels of professional signal equalization. Modeled after the circuitry of classic high end EQ's, the R24 delivers an affordable combination of rugged construction and solid performance. EQ in and out are controlled by classic toggle switches, with gain and frequency selection accessed using individual control knobs.
<BR><BR>

<B>Specifications:</B>
<UL>
<LI>Inputs:  Balanced XLR and 1/4" parallel jacks 
<LI>Outputs:  Transformer Balanced XLR and 1/4" parallel jacks (All measurements with 600 Ohm output load) 
<LI>Bandwidth:  +/- 0.5db, 20hz - 20Khz 
<LI>THD+N @ 1Khz, +4dbu:  0.01% 
<LI>Maximum Level:  +23dbu 
<LI>Signal-to-Noise Ratio:  -100db 
<LI>EQ Bands:  4 bands, all +/-12db Peak/Dip type 
<LI>Lo:  20hz - 200hz 
<LI>Lo-Mid:  100hz - 1Khz 
<LI>Hi-Mid:  500hz - 5Khz 
<LI>Hi:  2Khz - 20Khz 
<LI>Current:  65mA, 7.3VoltAmps 
<LI>Dimensions:  2U EIA 19" Rack 
<LI>Height:  3.5 Inches 
<LI>Width:  19 Inches 
<LI>Depth:  10 Inches 
<LI>Weight:  13 lbs 
<LI>Input Impedance:  12K Ohms 
<LI>Output Impedance:  300 Ohms Transformer Balanced </UL>
<I>(Specifications subject to change without notice) </I>

Arsenal Audio by API EQ-R24 - Dual Channel EQ
2 Channel 4-Band Equalizer

<P> </P>
<P><B>Audient ASP231</B></P>
<P>Just satisfying customer requirements was not our mission, striving for ways to improve performance and useability is what drives and motivates Audient's designers. Just 'good enough' was not acceptable.</P>
<P>We developed an output stage that can drive very large amounts of current into the difficult loads presented by long cable runs and paralleled loads. We used a carefully optimized balanced input stage that provides class leading rejection of unwanted signals in real world conditions.</P>
<P>All of our input and output ports feature extensive RFI rejection networks and are fully protected against accidental abuse, such as the mis-plugging of 48v phantom powered cables. The result, a hugely robust integration interface that will help maximize system performance and reliability.</P>
<P>We took a fresh look at how people use graphics and we re particularly proud of the dual operating modes implemented on the ASP131 and ASP231. Normal mode, best used for general EQ treatment and system voicing, provides reciprocal constant Q responses with smooth combining w mode provides a much sharper cut response, which allows removal of feedback with minimal loss of program balance. Realizing that overall system treatment will still be required in this mode, the boost controls still operate with the normal wide bandwidth.</P>
<P>To speed-up overall system voicing and make compensation for audience absorption and humidity changes, the ASP131 and ASP231 feature a Tilt control that does just what it says and tilts the overall system response gently about 1kHz, either boosting HF and cutting LF or vice versa. Subtle system balance adjustment has never been easier!</P>
<P>We know that equipment racks often have to be sited in poorly lit areas causing real operational problems. ASP131 and ASP231 feature a simple but highly effective solution with center frequencies and operational controls, provided with back-lighting giving clear indication of system status.</P>
<P>While we're not afraid to add cost where we know the result will be a better product, Audient's designers are also driven by the challenge of using every opportunity to eliminate unnecessary cost. By working closely with component designers and utilizing innovative industrial design and manufacturing techniques, the ASP131 and ASP231 Graphic Processors have been realized at a truly affordable price.</P>

Audient ASP231
Dual Channel Graphic EQ

The <B>Audient Black EQ</B> presents an opportunity to rediscover the magic of an EQ designed purely as a creative tonal shaping device, rather than the “surgical” parametric equalisation found on most mixing consoles and voice channels. The module features switched frequency, “Enhanced Slope” HF and LF shelving controls with characteristics reminiscent of early inductor based designs. A switched frequency (1.5kHz/3kHz) Presence/Absence band and a sweep frequency Lo Mid band provide flexibility, especially for vocal enhancement. The Lo Mid and Presence/Absence bands can be switched between reciprocal and Constant Q modes to allow either wide band equalisation or wide band boost with narrow band cut (notching) characteristics. <BR><BR>The class audient circuitry provides three creative features to allow colouration and shaping beyond what is possible with a standard EQ.. The first of these is the Overtone function that adds an LF band specific harmonic enhancement function to the signal path, adding definition to the low frequencies whilst letting the high-end frequencies pass through uncoloured and pure. The Glo function adds a low ratio side chain compression path to the LF band, proportional to the amount of boost/cut used to dynamically “tighten” or “thicken” the bass content.This provides the signal with distinct and solid low frequency content without allowing the low frequencies to overpower the rest of the frequency range. <BR><BR>The 3 position Tilt switch provides a subtle change to the tonal balance by gently sloping the overall frequency response, with a pivot point at 1kHz. Switched one way, the LF part of the spectrum is boosted by a small amount while at the same time the HF is attenuated. Switched the other way, the LF is attenuated and the HF is boosted. The effect on the tonal balance is to “lighten” or “darken” an otherwise well equalised balance.

Audient Black EQ
EQ for Black Series modular rack system

The <B>Avedis Audio E27</B> is one of the coolest and most unique EQ's on the market. A completely discrete design, and specifically for the 500 series format, it features 3 bands of EQ with 9 selectable frequencies per band. Push button shelving for low and high frequencies, allows for more flexibility. Jensen transformer balanced input & outputs, and gold plated rotary switches and 15-way connector provide for great sound & long life.
<BR><BR>
The level knob controls up to 16 db's of cut and boost but for those who only need a few db's, the travel of the pot starts slow and speeds up at the extremes giving the user more fine control at levels of 6 db's or less. Knob positions are not only easy to see from a distance but are also felt - the level pot knob has a small point so you know where you are without looking at the eq. The outer frequency control knob has a knurl texture for easy grip.<BR><BR>
<B>Features:</B><UL>
<LI>  Standard 500 series modular size 1.5" x 5.25"
<LI> 3-bands with 9 selectable frequencies per band
<LI> ±16 dB of boost and cut using continuous variable potentiometer
<LI> Push button shelving option for low and high frequencies
<LI>  All discrete design
<LI> High headroom
<LI> Low noise
<LI> Jensen transformers couple the input & output
<LI> Custom machined aluminum knobs
<LI> Gold plated rotary switches and 15-way connector for long life
<LI> Utilizes 1122 opamps
<LI>80ma current draw total, 40 per rail

Avedis Audio Electronics E27 Equalizer
"500 Series" 3 Band EQ

The <span style="font-weight: bold;">Buzz Audio REQ</span> is not a fully passive equalizer as such - each band has an amplifier associated with it and this approach ensure there is no interaction between bands. Parallel resonant chokes and capacitors form the frequency selective part of each band and these are coupled into the amplifier stage via the boost/cut control. In order to keep the signal path as short as possible, each band includes an in/out switch completely removing it from the chain if not required.
<br><br>
Many other equalizers using passive filters have limited centre frequency choices, but the REQ boasts 72 different frequencies split over four bands per channel. The high and low bands can be switched to bell or shelving mode and the two bell mid bands have two centre frequency ranges. Each band has a bandwidth (Q) control and if the high or low bands are switched shelf mode, this control reverts to a shelf "slope" control. In addition a passive high pass filter and a variable "saturation" module are provided. The saturation module converts the REQ into a more "vintage" sounding unit by adding harmonics to the signal via the use of a steel audio transformer driven by a "single ended" old style Class A amplifier (see distortion specs below). The low frequency response is also altered by the saturation control, depending on the position of this switch.
<br><br>
The REQ is available in two versions, a <a class="bluelinks" href="http://vintageking.com/Buzz-Audio-REQ-2-2-Resonance-Equalizer-Standard">recording (standard) version</a> with +/-15dB continuously variable boost/cut and a precision mastering version with 23 position stepped +/-8dB boost/cut with 0.5 and 1dB steps. All other controls on both versions are switched for repeatability. The high pass filter of the mastering version offers smaller steps and varying filter slopes to that on the recording version.
<br><br>
Taking a look inside the REQ chassis you will discover a very high level of engineering and build quality with single point power supply wiring, discrete power regulators for each band, reliable ITT rotary switches and Alps rotary boost/cut pots (or Elma stepped attenuators in the Mastering version) - the list goes on and on. Click on the images above to see inside the Resonance Equalizer and discover for yourself why this product is truly unique!
<br><br>
<span style="font-weight: bold;">Applications
</span><ul>
<li>Tracking and stereo mix bus equalisation
</li><li>Audio mastering and restoration
</li><li>Post production sound shaping
</li></ul>

<span style="font-weight: bold;">Features
</span><ul>

<li>  No other equalizer like it in the world.

</li><li> Fully discrete hi-bias wide bandwidth differential Class A amplifiers.

</li><li>  Real choke and capacitor resonant circuits that sound fantastic.

</li><li> <a class="bluelinks" href="http://www.buzzaudio.com/products/reqfreqchart.htm" target="blank">72 frequency</a> choices per channel.

</li><li> Individual discrete power supply regulators for each EQ band.

</li><li>  Large easy to adjust knobs
 </li><li> High quality long life switches and potentiometers.
  
 </li><li> Modular internal construction for easy future servicing.
</li><li> Mastering and recording versions.
</li><li> Unique transformer saturation module.

</li><li> Overall and individual band bypass switches.
   </li><li> High-end balanced input and output amplifiers.
   </li><li> Input connectors with loop through.
       </li><li>  Two output connectors on each channel.
 
         </li><li> Rugged chassis construction.
</li></ul>
<span style="font-weight: bold;">Specifications
</span><br><br>
<span style="font-weight: bold;">Frequency Response</span><br>
Measured with all eq bands ON set flat, Saturation and HPF OFF 5Hz to 125kHz +0.2/-3dB

<br><br><span style="font-weight: bold;">Harmonic Distortion</span><br>
At +10dBu, Saturation OFF 100Hz 0.007%...1kHz 0.004%...10kHz 0.007%...100kHz 0.013%<br>
Saturation ON POS-1 20Hz 1.5%...100Hz 0.07%...1kHz and up 0.01%<br>
Saturation ON POS-2 20Hz 1.5%...100Hz 0.14%...1kHz and up 0.01%<br>
Saturation ON POS-3 20Hz 1.5%...100Hz 0.16%...1kHz and up 0.01%<br>
Saturation ON POS-4 20Hz 1.6%...100Hz 0.17%...1kHz and up 0.01%<br>
Saturation ON POS-5 20Hz 1.7%...100Hz 0.18%...1kHz and up 0.01%<br>
Saturation ON POS-6 20Hz 2.0%...100Hz 0.22%...1kHz and up 0.01%<br>
<br><br>
<span style="font-weight: bold;">Maximum Input Level</span> +25dBu
<br><br><span style="font-weight: bold;">Input Impedance</span> approx 20k ohms
<br><br>
<span style="font-weight: bold;">Maximum Output Level</span> +32dBu balanced…+26dBu unbalanced
<br><br><span style="font-weight: bold;">Output Impedance</span> approx 70 ohms
<br><br style="font-weight: bold;"><span style="font-weight: bold;">
Input Common Mode Rejection</span> (ref 0dBu) 100Hz -65dB…1kHz -65dB…10kHz -60dB
<br><br>
<span style="font-weight: bold;">Noise</span> all bands ON set flat -110dB below max input level A weighted
<br><br style="font-weight: bold;"><span style="font-weight: bold;">
General</span><br>
Power requirements 115V/230V selectable on rear panel
Dimensions 4U rack mount, 300mm deep

Buzz Audio REQ-2.2 - Mastering
True Class A Resonance Equalizer - Mastering Version

The <span style="font-weight: bold;">Buzz Audio REQ</span> is not a fully passive equalizer as such - each band has an amplifier associated with it and this approach ensure there is no interaction between bands. Parallel resonant chokes and capacitors form the frequency selective part of each band and these are coupled into the amplifier stage via the boost/cut control. In order to keep the signal path as short as possible, each band includes an in/out switch completely removing it from the chain if not required.
<br><br>
Many other equalizers using passive filters have limited centre frequency choices, but the REQ boasts 72 different frequencies split over four bands per channel. The high and low bands can be switched to bell or shelving mode and the two bell mid bands have two centre frequency ranges. Each band has a bandwidth (Q) control and if the high or low bands are switched shelf mode, this control reverts to a shelf "slope" control. In addition a passive high pass filter and a variable "saturation" module are provided. The saturation module converts the REQ into a more "vintage" sounding unit by adding harmonics to the signal via the use of a steel audio transformer driven by a "single ended" old style Class A amplifier (see distortion specs below). The low frequency response is also altered by the saturation control, depending on the position of this switch.
<br><br>
The REQ is available in two versions, a recording (standard) version with +/-15dB continuously variable boost/cut and a precision <a class="bluelinks" href="http://vintageking.com/Buzz-Audio-REQ-2-2-Resonance-Equalizer-Mastering">mastering version</a> with 23 position stepped +/-8dB boost/cut with 0.5 and 1dB steps. All other controls on both versions are switched for repeatability. The high pass filter of the mastering version offers smaller steps and varying filter slopes to that on the recording version.
<br><br>
Taking a look inside the REQ chassis you will discover a very high level of engineering and build quality with single point power supply wiring, discrete power regulators for each band, reliable ITT rotary switches and Alps rotary boost/cut pots (or Elma stepped attenuators in the Mastering version) - the list goes on and on. Click on the images above to see inside the Resonance Equalizer and discover for yourself why this product is truly unique!
<br><br>
<span style="font-weight: bold;">Applications
</span><ul>
<li>Tracking and stereo mix bus equalisation
</li><li>Audio mastering and restoration
</li><li>Post production sound shaping
</li></ul>

<span style="font-weight: bold;">Features
</span><ul>

<li>  No other equalizer like it in the world.

</li><li> Fully discrete hi-bias wide bandwidth differential Class A amplifiers.

</li><li>  Real choke and capacitor resonant circuits that sound fantastic.

</li><li> <a class="bluelinks" href="http://www.buzzaudio.com/products/reqfreqchart.htm" target="blank">72 frequency</a> choices per channel.

</li><li> Individual discrete power supply regulators for each EQ band.

</li><li>  Large easy to adjust knobs
 </li><li> High quality long life switches and potentiometers.
  
 </li><li> Modular internal construction for easy future servicing.
</li><li> Mastering and recording versions.
</li><li> Unique transformer saturation module.

</li><li> Overall and individual band bypass switches.
   </li><li> High-end balanced input and output amplifiers.
   </li><li> Input connectors with loop through.
       </li><li>  Two output connectors on each channel.
 
         </li><li> Rugged chassis construction.
</li></ul>
<span style="font-weight: bold;">Specifications
</span><br><br>
<span style="font-weight: bold;">Frequency Response</span><br>
Measured with all eq bands ON set flat, Saturation and HPF OFF 5Hz to 125kHz +0.2/-3dB

<br><br><span style="font-weight: bold;">Harmonic Distortion</span><br>
At +10dBu, Saturation OFF 100Hz 0.007%...1kHz 0.004%...10kHz 0.007%...100kHz 0.013%<br>
Saturation ON POS-1 20Hz 1.5%...100Hz 0.07%...1kHz and up 0.01%<br>
Saturation ON POS-2 20Hz 1.5%...100Hz 0.14%...1kHz and up 0.01%<br>
Saturation ON POS-3 20Hz 1.5%...100Hz 0.16%...1kHz and up 0.01%<br>
Saturation ON POS-4 20Hz 1.6%...100Hz 0.17%...1kHz and up 0.01%<br>
Saturation ON POS-5 20Hz 1.7%...100Hz 0.18%...1kHz and up 0.01%<br>
Saturation ON POS-6 20Hz 2.0%...100Hz 0.22%...1kHz and up 0.01%<br>
<br><br>
<span style="font-weight: bold;">Maximum Input Level</span> +25dBu
<br><br><span style="font-weight: bold;">Input Impedance</span> approx 20k ohms
<br><br>
<span style="font-weight: bold;">Maximum Output Level</span> +32dBu balanced…+26dBu unbalanced
<br><br><span style="font-weight: bold;">Output Impedance</span> approx 70 ohms
<br><br style="font-weight: bold;"><span style="font-weight: bold;">
Input Common Mode Rejection</span> (ref 0dBu) 100Hz -65dB…1kHz -65dB…10kHz -60dB
<br><br>
<span style="font-weight: bold;">Noise</span> all bands ON set flat -110dB below max input level A weighted
<br><br style="font-weight: bold;"><span style="font-weight: bold;">
General</span><br>
Power requirements 115V/230V selectable on rear panel
Dimensions 4U rack mount, 300mm deep

Buzz Audio REQ-2.2 - Standard
True Class A Resonance Equalizer

The <span style="font-weight: bold;">Buzz Audio REQ</span> is not a fully passive equalizer as such - each band has an amplifier associated with it and this approach ensure there is no interaction between bands. Parallel resonant chokes and capacitors form the frequency selective part of each band and these are coupled into the amplifier stage via the boost/cut control. In order to keep the signal path as short as possible, each band includes an in/out switch completely removing it from the chain if not required.
<br><br>
Many other equalizers using passive filters have limited centre frequency choices, but the REQ boasts 72 different frequencies split over four bands per channel. The high and low bands can be switched to bell or shelving mode and the two bell mid bands have two centre frequency ranges. Each band has a bandwidth (Q) control and if the high or low bands are switched shelf mode, this control reverts to a shelf "slope" control. In addition a passive high pass filter and a variable "saturation" module are provided. The saturation module converts the REQ into a more "vintage" sounding unit by adding harmonics to the signal via the use of a steel audio transformer driven by a "single ended" old style Class A amplifier (see distortion specs below). The low frequency response is also altered by the saturation control, depending on the position of this switch.
<br><br>
The REQ is available in two versions, a <a class="bluelinks" href="http://vintageking.com/Buzz-Audio-REQ-2-2-Resonance-Equalizer-Standard">recording (standard) version</a> with +/-15dB continuously variable boost/cut and a precision mastering version with 23 position stepped +/-8dB boost/cut with 0.5 and 1dB steps. All other controls on both versions are switched for repeatability. The high pass filter of the mastering version offers smaller steps and varying filter slopes to that on the recording version.
<br><br>
Taking a look inside the REQ chassis you will discover a very high level of engineering and build quality with single point power supply wiring, discrete power regulators for each band, reliable ITT rotary switches and Alps rotary boost/cut pots (or Elma stepped attenuators in the Mastering version) - the list goes on and on. Click on the images above to see inside the Resonance Equalizer and discover for yourself why this product is truly unique!
<br><br>
<span style="font-weight: bold;">Applications
</span><ul>
<li>Tracking and stereo mix bus equalisation
</li><li>Audio mastering and restoration
</li><li>Post production sound shaping
</li></ul>

<span style="font-weight: bold;">Features
</span><ul>

<li>  No other equalizer like it in the world.

</li><li> Fully discrete hi-bias wide bandwidth differential Class A amplifiers.

</li><li>  Real choke and capacitor resonant circuits that sound fantastic.

</li><li> <a class="bluelinks" href="http://www.buzzaudio.com/products/reqfreqchart.htm" target="blank">72 frequency</a> choices per channel.

</li><li> Individual discrete power supply regulators for each EQ band.

</li><li>  Large easy to adjust knobs
 </li><li> High quality long life switches and potentiometers.
  
 </li><li> Modular internal construction for easy future servicing.
</li><li> Mastering and recording versions.
</li><li> Unique transformer saturation module.

</li><li> Overall and individual band bypass switches.
   </li><li> High-end balanced input and output amplifiers.
   </li><li> Input connectors with loop through.
       </li><li>  Two output connectors on each channel.
 
         </li><li> Rugged chassis construction.
</li></ul>
<span style="font-weight: bold;">Specifications
</span><br><br>
<span style="font-weight: bold;">Frequency Response</span><br>
Measured with all eq bands ON set flat, Saturation and HPF OFF 5Hz to 125kHz +0.2/-3dB

<br><br><span style="font-weight: bold;">Harmonic Distortion</span><br>
At +10dBu, Saturation OFF 100Hz 0.007%...1kHz 0.004%...10kHz 0.007%...100kHz 0.013%<br>
Saturation ON POS-1 20Hz 1.5%...100Hz 0.07%...1kHz and up 0.01%<br>
Saturation ON POS-2 20Hz 1.5%...100Hz 0.14%...1kHz and up 0.01%<br>
Saturation ON POS-3 20Hz 1.5%...100Hz 0.16%...1kHz and up 0.01%<br>
Saturation ON POS-4 20Hz 1.6%...100Hz 0.17%...1kHz and up 0.01%<br>
Saturation ON POS-5 20Hz 1.7%...100Hz 0.18%...1kHz and up 0.01%<br>
Saturation ON POS-6 20Hz 2.0%...100Hz 0.22%...1kHz and up 0.01%<br>
<br><br>
<span style="font-weight: bold;">Maximum Input Level</span> +25dBu
<br><br><span style="font-weight: bold;">Input Impedance</span> approx 20k ohms
<br><br>
<span style="font-weight: bold;">Maximum Output Level</span> +32dBu balanced…+26dBu unbalanced
<br><br><span style="font-weight: bold;">Output Impedance</span> approx 70 ohms
<br><br style="font-weight: bold;"><span style="font-weight: bold;">
Input Common Mode Rejection</span> (ref 0dBu) 100Hz -65dB…1kHz -65dB…10kHz -60dB
<br><br>
<span style="font-weight: bold;">Noise</span> all bands ON set flat -110dB below max input level A weighted
<br><br style="font-weight: bold;"><span style="font-weight: bold;">
General</span><br>
Power requirements 115V/230V selectable on rear panel
Dimensions 4U rack mount, 300mm deep

Buzz Audio REQ-2.2 ME - Mastering
True Class A Resonance Equalizer - Mastering Version

The <B>Chandler Curve Bender</B> was conceived by Chandler Limited designer Wade Goeke and Abbey Road senior engineer Peter Cobbin and is based on the vintage EMI TG12345 desk used to record The Beatles and Pink Floyd. This newest EMI equalizer continues the tradition of EMI eqs started in 1951 with the RS56, affectionately entitled the Curve bender by EMI designers and continued with the TG12345 in 1968, and TG12412 in 1974. The newest version takes the simple but beautiful sounding TG12345 equalizer and realizes it in a fully featured and rethought package for today's use. <BR><BR>During his mixing of numerous Beatles related projects including, Anthology, Yellow Submarine, and Imagine, Peter Cobbin thought of having a fully featured and ultimately flexible version of the original desk eq units. After Wade presented him with a working version of the famed console eq Pete realized his time had come and set Wade to making his unit. Peter asked for four bands and filters based on the slopes of the original desk but with overlapping and expanded choices. Wade turned the 9 selections on the vintage version into 51 eq points plus a multiply switch that increases the boost/cut to 15db (as well as sharpening the Q), filters, and bell/shelf selections on the high and low bands. <BR><BR>A simple equalizer from the rich past of EMI and Abbey Road has now come full circle into a modern powerhouse suitable for recording, mixing, and mastering. The rest is NEW EMI/Abbey Road history...

Chandler EMI TG12345 Curve Bender
The ultimate TG equalizer issued in celebration of the 75th birthday of Abbey Road Studios.

Chandler Germanium Tone Control EQ
Germanium Tone Control

Crane Song IBIS
4 band discrete Class A stereo equalizer

In Stock - Now Shipping

Crane Song IBIS Mastering EQ
4 Band Mastering EQ

The <B>D.W. Fearn VT-4</B> equalizer will change the way you think of eq. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars -- any sound, or even an entire mix. Even with extreme settings, the VT-4 will never sound harsh.<BR> <BR>
This single-channel equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1/VT-2 mic preamp design, so the equalizer has much the same sonic character as the preamps.<BR><BR>The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control.<BR><BR>The input is line-level, transformer balanced-bridging. An active vacuum tube input section has adjustable gain to accomodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps.<BR><BR><U>All</U> controls are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are custom-made for us by Jensen Transformers Inc. <BR><BR>The equalizer is constructed of heavy-guage aluminum, with a a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction.<BR><BR>Like the VT-1/VT-2 preamps, the Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly-musical equalizer with plenty of range for enhancing any track or mix.</P>

D.W. Fearn VT-4 Tube LC Equalizer
Single Channel Vacuum Tube LC Equalizer

<span style="font-weight: bold;">Manufacturer's Description</span><br>The <span style="font-weight: bold;">DW Fearn VT-5 Stereo Equalizer</span> is a dual-channel version of our acclaimed VT-4 LC Equalizer. The frequencies, steps, curves, etc. are exactly the same. The VT-5 is a true stereo equalizer, with one set of controls that work on both channels simultaneously.<br><br>This equalizer will change the way you think of eq. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars -- any sound, or even an entire mix. Even with extreme settings, the VT-5 will never sound harsh.<br><br>This stereo equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1/VT-2 mic preamp design, so the equalizer has much the same sonic character as the preamps.<br><br>The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control.<br><br>The inputs are line-level, transformer balanced-bridging. An active vacuum tube input section has adjustable gain to accommodate input signals as low as -10 dBm. The input transformers are made by Jensen. The output stage utilizes the same custom Jensen transformers used on the VT-1/VT-2 mic preamps.<br><br>All controls are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are custom-made for us by Jensen Transformers Inc.<br><br>The equalizer is constructed of heavy-guage aluminum, with a a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction.<br><br>Like the VT-1/VT-2 preamps, the Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly-musical equalizer with plenty of range for enhancing any track or mix.

D.W. Fearn VT-5 Stereo Tube Equalizer
Dual-channel version of the VT-4 Vacuum Tube Equalizer

The dbx® 12 Series were designed to meet the needs of the most demanding sound reinforcement environments, while offering the simplicity of straightforward controls. The <span style="font-weight: bold;">dbx 1215</span> provides standard features like dual channels, 15 2/3 octave bands, ISO frequency centers, +/-12 dB input gain range, and switchable 40Hz/18 dB per octave low-cut filters, but also includes other thoughtful features. These include 45 mm faders; selectable +/-6dB or +/-15dB boost/cut range for precise gain adjustments; XLR, barrier strip, and 1/4'' TRS connectors for installation ease; balanced inputs and outputs for quiet operation; and chassis/signal ground lift capabilities for quick hum isolation. The visionary design of the dbx 12 Series makes your job easier.<br><br>The dbx 12 Series Equalizers were precision engineered to provide years of maintenance-free operation in any application. The magnetically isolated transformer, electronically balanced/unbalanced inputs and servo balanced/unbalanced outputs, RF-filtered inputs and outputs, and power-off hard-wire relay bypass with 2 second power up delay were steps our engineers took to ensure compatibility for all installations. Only the best components were utilized, yielding a 10Hz to 50kHz frequency response, greater than 90dB SNR (ref +4dBu), less than 0.005% THD +Noise (1kHz at +4dBu), and interchannel crosstalk of less than -80dB from 20Hz to 20kHz. All this attention to detail is contained in a 2U steel/aluminum chassis.

DBX 1215
Dual 15 Band Graphic Equalizer

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