Mercury Recording Equipment

Mercury Recording Equipment Company

Mercury Recording Equipment has gone to great lengths to recreate the pride 
and passion
of the past, both sonically and aesthetically, while offering the reliability 
of the present. The choices
made in looks, layout, functionality, features and build quality all answer 
back to one question: How
would "they" have done it today?. In Mercury Recording Equipment there are no 
I.C.’s (chips). All
products are hand wired and/or assembled using silver solder and 
no-compromise parts. Everything
is transformer balanced (input and outputs). The chassis and front panels 
have a very distinctive
1950’s look with powder coating or baked enamel finish and engraved 
lettering, (No silk screening).
They look as good as they sound! The all tube and all transformer, 
fully-balanced variable-bias limiter is a
recognized essential tool for making great recordings. The most sought after 
product in this genre has been 
the legendary Fairchild 660. Many manufacturers have tried to copy the 
Fairchild but have failed to capure the
sonic essence. Until now.

The Mercury 66 Limiting Amplifier is, as true as possible, a recreation of 
the classic Fairchild
limiters-- using parts that are available today-- and meets all of the 
original specifications. But more
importantly, it SOUNDS like a Fairchild. Its performance features include: 
exceptional tone and
musical focus; absence of audible thumps, distortion or noise; extremely fast 
attack time that can
produce full limiting in 1/5000th of a second; variable release time from .3 
seconds to 25 seconds;
useful as a limiter or a compressor depending on the program material and 
control settings; reliability
and stability (All components operate well below their rated maximums); all 
tube, fully balanced
(push-pull) transformer coupled circuitry; and simple, easy to use controls.

The Mercury 66 Limiting Amplifier is built to be a new classic and to be your 
go-to compressor
for the next 50 years!

The Mercury 66 Limiting Amplifier uses a single push-pull stage of 
amplification (transformer
coupled in/out (no capacitors in the signal path) with a high control 
voltage. The
result: the unit never produces any audible thumps, and has low distortion 
and noise under
all conditions (either as a limiter or straight through amplifier). The 
Control amplifier is also
fully balanced, transformer coupled in/out. The unit makes use of a very 
stable high current
vacuum tube voltage regulator. It has ample and accessible input, threshold,
attack, release time and metering controls allowing for convenience in the 
control room
when making adjustments. The attack time is very fast and catches short 
transients. The
release time of .3 to 25 seconds provides real flexibility: Three positions 
of the six available
make the release time a function of program material, with fast recovery for 
short duration
peaks and overall reduction of program level should the program level remain 
high. It can
be used as a limiter or compressor. For example, use it as a 2 to 1 ratio 
compressor with a
threshold 5 dB below average level, or as a peak limiter with a 20 to 1 ratio 
with threshold
10 dB above normal program level, or anywhere between these extremes.

Mercury Recording Equipment...PLUG INTO REALITY

Mercury 66 Limiting Amplifier
All Tube and All Transformer, Mono, Linkable for Stereo

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The Mercury AM16 is a 19" rack mountable version of the original American, modular, transistor type preamplifier built in the 1960's. The AM16 is well known for being over all very musical, open and airy on the top end and having a tube-like "air" characteristic not found in most amplifiers of the same type. The Mercury AM16 is available in both two channel and one channel (AM16/1) versions. Features include: Input Pad (-24dB) as well as a Adjustable Input (Pad) Attenuator (-0, -6, -12, -18 and -24dB), Phantom (48V), Phase Reverse (Polarity), an Output Control (Fader) and a newly designed FET Direct Input, per channel. The Mercury AM16's internally mounted power supply uses a toroidal transformer and is regulated for super low noise and stable performance. In addition each amplifier channel is locally regulated to eliminate cross talk between channels. The Mercury AM16 is housed in a beautiful, gray hammer finish, steel chassis and the aluminum front (control) panel has a custom powder coated finish giving the Mercury AM16 the look and feel of the "vintage" original. Since 1994, Marquette Audio Labs has racked many of those vintage AM16 modules. It has always been a personal favorite and we have had continuous great feedback from clients about the musical characteristics of the AM16. But the original modules have not been made for some 30+ years and supply is not able to meet demand. The Mercury AM16 solves that problem with the same fully discrete, "transistor type" circuitry and more importantly the same musical quality and performance of the original modules . The inputs and outputs of the Mercury AM16 are coupled through custom wound transformers that are modeled after the originals . The Amplifier gain is set at 50dB like the original "R" high gain setting. We have also added features that make the Mercury AM16 more flexible than the original or even our modern racked versions. The Original AM16 Amplifier Literature stated: “The AM16 is primarily a microphone pre-mixing amplifier (mic pre). However, its performance also qualifies it for use as a post-mixing (booster) and as a low-level program amplifier. Of special note is the low noise generation figure”. The Mercury AM16 makes it possible to use the amplifier to its original, full potential. It can be used as a microphone amplifier (mic pre) and you can also use it as a line amplifier (booster) by using the combination of the -24dB pad and the Input Attenuator (Pad) and Output Fader control. This gives you the option to run your mixes through the Mercury AM16 or use for additional (musical) gain on another device, when needed. Thirdly, you have the option of the Direct Input on the Mercury AM16, which was added for uses for direct recording of Bass and Electric guitar as well as keyboards and drum machines etc... The FET Direct Input on the Mercury AM16 is very full sounding. There is more mid range and low end presence than most D.I.s as well as an open and airy top end that the AM16 is famous for.

Mercury AM16
Rackmount version of the original 1960s American modular, transistor type preamplifier. Class A, Discrete. Dual Channel.

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Mercury AM16/1
Single Channel version of AM16

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Mercury Recording Equipment Co. is committed to recreating every magical nuance of the original in a modern production. The goal was that the Mercury EQ-H1 Program Equalizer would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements 
in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply.

The Mercury EQ-H1 Program Equalizer has transformer balanced input and output, with a single ended gain make up amplifier. The EQ-H's passive EQ/gain make up amp topology provides a musically satisfying result unobtainable with active and parametric EQs, since it does not rely upon negative feedback (and all it's associated phase and dynamic distortions) to achieve equalization.
 
<UL>

<LI>Low Frequency Select (CPS): 20, 30, 60, 100, 200 Hz
<LI>Low Frequency Boost Control: Shelf Boost, 0dB to +13dB
<LI>Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB
<LI>High Frequnecy Select (KCS): 3, 4, 5, 8, 10, 12, 16 kHz
<LI>High Frequency Boost Control: Shelf Boost, 0dB to +16dB
<LI>High Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16dB
</UL>

Mercury EQ-P1 Vs. EQ-H1. What's the difference? 
The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the

same application.

The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.

The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both

multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and

fluid but a bit "thicker" than the EQ-P1, thus the EQ-H1 shines on Thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is

great for Shaping vocals, Acoustic instruments, Guitar, Piano etc...

MERCURY RECORDING EQUIPMENT has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while

offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back

to one question: How would "they" have done it today?
 
Mercury Recording Equipment Co. products are hand wired and/or assembled using silver solder and no-compromise parts. All Mercury products are

transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive

"vintage" look with custom powder coating finish. They look as good as they sound!

Mercury EQ-H1 Equalizer
The Mercury EQ-H1 is truly built to be a new classic, and work its magic today or in 50 years!

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Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's "sound." The simple beauty of these EQs is unsurpassed!
 
The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches.
 
Mercury Recording Equipment Co. is committed to recreating every magical nuance of the original in a modern production. The goal was that the Mercury EQ-P1 Program Equalizer would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply.
 
The Mercury EQ-P1 Program Equalizer has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production.
 
Interstage Transformer In/Out Switch The only modernization feature on the unit is a user switchable (in/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in/out switch, below the EQ in/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the "in" position, it is more "vintage" like the original Pultec. Up, in the "out" position, it is a little more "open" and "airy" on the top. Either way, the input and output transformers are always in the circuit.
<UL>
<LI>Low Frequency Select (CPS): 20, 30, 60, 100, 200 Hz
<LI>Low Frequency Boost Control: Shelf Boost, 0dB to +13dB
<LI> Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB
<LI>High Frequency Bandwidth Control: Sharp to Broad
<LI>High Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k
<LI>High Frequency Boost Control: Shelf Boost, 0dB to +18dB
<LI>High Frequency Shelf Attenuate Select: 5, 10, & 20k
<LI> High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB
</UL>
Mercury EQ-P1 Vs. EQ-H1. What's the difference? 
The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.

The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.

The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit "thicker" than the EQ-P1, thus the EQ-H1 shines on Thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for Shaping vocals, Acoustic instruments, Guitar, Piano etc... 
MERCURY RECORDING EQUIPMENT has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would "they" have done it today?
 
Mercury Recording Equipment Co. products are hand wired and/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive "vintage" look with custom powder coating finish. They look as good as they sound!

Mercury EQ-P1 Equalizer
The Mercury EQ-P1 is truly built to be a new classic, and work its magic today or in 50 years!

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Mercury EQH1 & EQP1 - Program Equalizers 
 
The Mercury EQ-H Program Equalizer has transformer balanced input and output, with a single ended gain make up amplifier. The EQ-H’s passive EQ/gain make up amp topology provides a musically satisfying result unobtainable with active and parametric EQ’s, since it does not rely upon negative feedback (and all it’s associated phase and dynamic distortions) to achieve equalization. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production.
 
The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. The EQ-H1 and EQ-P1 sound different on the same application. The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky.
 
The Mercury EQ-P1 also has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. The only modernization feature on the unit is a user switchable (in/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today’s engineers might want to remove it with the Mercury EQP1 Program Equalizer it is possible to do so with in/out switch on the Front Panel. This takes the middle (interstage) transformer out of the circuit Up, in the "in" position, it is more "vintage" like the original Pultec. Down, in the "out" position, it is a little more "open" and "airy." Either way, the input and output transformers are always in the circuit. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production.
 
The Mercury EQ-H1 and EQ-P1 Program Equalizers have realized all of the original Pultec specification in a modern production. We have not "improved" this unit, rather, we have kept all elements in line with the original designer’s ideas. The Mercury EQ-H1 and EQ-P1 is truly built to be a new classic, and work its magic today or in 50 years! Mercury 66). next 50 years!

Mercury EQ-P1 Equalizer - Pair On Sale. Save $150!
Buy a pair of EQ-P1's - save $150

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"For many years we have had access to most 'vintage' equipment in the marketplace. We have worked with many of those vintage modules from Telefunken, Siemens, Neve, Audix, Langevin, Calrec and many others. The PQ15s has always been a favorite and I personally prefer it to the other 'British' Pre/EQ modules of the similar type. I always thought it was a shame that there was not an affordable way to get the great sound of that Pre/Eq module in the form of just a stand alone Microphone Amplifier (without the EQ). There have been other options available like vintage line amp modules that can be converted to micpres, which sound good, but do not have the exact sound of the Pre/EQ modules. With the Mercury Grand Pre we have provided what I have wanted to do for years... which is to build a Solid State, Discrete microphone amplifier with the 70's 'British' vibe which has all the rounded punch but more musicality than you are used to hearing." - David Marquette
 
The Mercury Grand Pre is more open and musical than other similar amplifiers of the same type and/or topology. Just to be perfectly clear... the Mercury Grand Pre is not another "Twelve Seventy Two" clone. Instead, the Grand Pre is the new, Alternative British Classic!
 
The Mercury Grand Pre is available in both two channel and one channel (GP1) versions. Features include: Input Gain Control 0-60dB in 12dB steps (-0, -12, -24, -36, -48 and -60dB), that works in combination with the Fine Gain Control (trim) that is +/- 8dB. Phantom (48V), Phase Reverse (Polarity), an Output Control (Fader) and a newly designed FET Direct Input, per channel. The FET Direct Input on the Mercury Grand Pre is very full sounding. There is more mid range and low end presence then most D.I.s as well as an open and airy top end and overall punchiness you would expect from a Class A Discrete Amplifier. The inputs and outputs of the Grand Pre are balanced using the original Sowter transformers. The Mercury Grand Pre's internally mounted power supply uses a toroidal transformer and is regulated for super low noise and stable performance. In addition each amplifier channel is locally regulated to eliminate cross talk between channels.

single channel grand pre back panel
 
The Mercury Grand Pre is 19" rack mountable and housed in a beautiful, gray hammer finish, steel chassis. The aluminum front (control) panel has a custom powder coated finish giving the Mercury Grand Pre the look and feel of the era it comes from with a twist. The Grand Pre has the "look" of a Classic Hot rod with it's black, red and chrome color scheme. The Mercury Grand Pre has "the goods" under the hood and is always ready to race for pink slips. Compare it to other Micpres of the same type and you will understand why it is called the "Grand Pre" and why it holds the checkered flag!

Mercury Grand Pre
Solid State, Discrete, Dual Channel Mic Pre - The Classic British Alternative!

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Manufacturer's Description:
 
In the mid-sixties, at Abbey Road Studios legends were born. Not just the Beatles or George Martin, but also the REDD.37 recording desk that was used to record most of their earlier work. The very rare amplifiers used in that desk were called "V72s" and were a modified version of the standard Telefunken / Siemens V72 module.
 
The more common V72 amplifier modules were later modified and have been sold for many years as outboard preamplifiers all over the world. These V72 modules have not been available new for 40 years, and working units have become extremely rare and expensive. It is the uniquely musical tonal characteristics of these preamps have made them the prized possession of many engineers lucky enough to get the vintage modules, and a "secret weapon" for many studio musicians. With that in mind, Mercury Recording Equipment has made a faithful reproduction in the M72s -- not only of how the units behave, but of how they SOUND overall. The addition of pad, phase, phantom and gain controls make it even more versatile without sacrificing the most important feature: Musicality.
 
Mercury M72s rear view
The most sought after Telefunken/Siemens "V series" modules are famous for being used in Abbey Road's REDD.37 consoles. These amplifiers were called "V72s" and were a modified version of the standard V72 modules that were much more common. Unlike those vintage modules that had fixed gain, The V72 at 34dB, and the "V72s" at 40dB, the Mercury M72s has variable mic gain from 28dB to 58dB. Also, with the M72s, you have a selectable input pad of -16dB or -28dB for even more control. When the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run line level signal through the M72s. This will provide a warm, rich path for mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: 48V DC (Phantom), Phase Reverse (Polarity) and Direct Input for Bass or Electric Guitar per channel. The Mercury M72s has the rich lows and punchy mids that the vintage V72 modules have but a more open high end. The Mercury M72s Studio Microphone Amplifier has that "vintage" tone and "break up" like the original modules but it is a bit more musical over all (not cleaner... more musical, there is a huge difference).
 
The Mercury M72s brings that "vintage" magic back! It is truly a new classic for today as well as for the next 50 years! 
 
"After building 100's of Vintage V72 packages at Marquette Audio Labs it is nice to know we can continue a tradition that we have been providing for over 10 years now. We are very proud of the Mercury M72s Studio Microphone Amplifiers at M.A.L. and I am personally very pleased with this product which has actually exceeded my expectations".
~ David Marquette

Mercury M72s Studio Microphone Amplifier
Rich lows, punchy mids and a more open high end. Dual Channel.

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Mercury M72s/1 Studio Microphone Amplifier
Single Channel version of M72s

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First, Mercury Recording Equipment successfully recreated the original V72s with their highly regarded Mercury M72s. Now, with the Mercury M76m, they have brought to life the V72s' "big brother"- the V76. The Mercury M76m is a recreation of the original German designed Telefunken/Siemens amplifier module used in many European broadcast and recording desks. The V76 modules, however, are more well known as an outboard rack mounted preamp and are highly sought after by studios and engineers all over the world. Of all the V76 amplifiers, the "V76m" has always been the most desired because of its useful variable gain control. Original modules have not been available new for 40 years and working vintage units have become extremely rare and expensive. Furthermore, due to its overly compact modular design, the V76 modules are now, after four decades, not as mechanically sound as they once were which causes problems sonically. With that in mind, Mercury Recording Equipment has recreated the transformer balanced, four tube per channel, high gain amplifier. Keeping the integrity of tonality. In addition, Mercury has added new features that the original studio microphone amplifiers and even the "vintage" re-racks never had. The Mercury M76m has a Impedance Select switch for both high and low impedance devices, an Output Control Fader for even more control, including the ability to overdrive the amplifier if desired and a variable gain control, 0 to +60dB in 6dB increments, that works in conjunction with a fine gain, or trim, from 0 to +10dB in 1dB increments. Also, all the staple features one expects from a modern piece of equipment, such as: Phantom Power (48V), Phase Reversal, and a Direct Input, per channel. The Mercury M76m has that "vintage" magic as well as a few new tricks. That is why it is truly a new classic for today as well as the new benchmark for the next 50 years! After many years in development, Mercury Recording Equipment Co. has now built what is quite possibly the ultimate combination of vintage sound and modern features. The vintage sound comes from more than ten years experience repairing, rebuilding, and most importantly LISTENING to the Telefunken/Siemens V76 modules. Mercury made it their first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. They did not stop there, however. Drawing on years of experience, professional service and taking note of what modifications and features the professional recording engineers wished their original V76 modules had, Mercury took it one step farther than a "recreation." For example, the M76m's Channel Power Indicator glows orange when powered up and changes to red when phantom power is engaged. This indicator is also a back lit window (like the original) for the variable, 0 to +60dB, gain control (in 6dB increments). which works with a 0 to +10dB fine gain in 1dB increments. Other features added include a output level fader, impedance switch, Direct Input for instruments, and Phase Reverse-- all per channel. The Mercury M76m is the perfect combination of the old and the new. You will hear what you have always loved about the "vintage" amplifiers: tone, warmth and air. But you will have flexibility with more features that surpass the original. This combination will make the Mercury M76m the new benchmark in tube studio microphone amplifiers!

Mercury M76/1 Studio Microphone Amplifier
Single Channel version of M76m.

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First, Mercury Recording Equipment successfully recreated the original V72s with their highly regarded Mercury M72s. Now, with the Mercury M76m, they have brought to life the V72s' "big brother"- the V76. The Mercury M76m is a recreation of the original German designed Telefunken/Siemens amplifier module used in many European broadcast and recording desks. The V76 modules, however, are more well known as an outboard rack mounted preamp and are highly sought after by studios and engineers all over the world. Of all the V76 amplifiers, the "V76m" has always been the most desired because of its useful variable gain control. Original modules have not been available new for 40 years and working vintage units have become extremely rare and expensive. Furthermore, due to its overly compact modular design, the V76 modules are now, after four decades, not as mechanically sound as they once were which causes problems sonically. With that in mind, Mercury Recording Equipment has recreated the transformer balanced, four tube per channel, high gain amplifier. Keeping the integrity of tonality. In addition, Mercury has added new features that the original studio microphone amplifiers and even the "vintage" re-racks never had. The Mercury M76m has a Impedance Select switch for both high and low impedance devices, an Output Control Fader for even more control, including the ability to overdrive the amplifier if desired and a variable gain control, 0 to +60dB in 6dB increments, that works in conjunction with a fine gain, or trim, from 0 to +10dB in 1dB increments. Also, all the staple features one expects from a modern piece of equipment, such as: Phantom Power (48V), Phase Reversal, and a Direct Input, per channel. The Mercury M76m has that "vintage" magic as well as a few new tricks. That is why it is truly a new classic for today as well as the new benchmark for the next 50 years!  After many years in development, Mercury Recording Equipment Co. has now built what is quite possibly the ultimate combination of vintage sound and modern features. The vintage sound comes from more than ten years experience repairing, rebuilding, and most importantly LISTENING to the Telefunken/Siemens V76 modules. Mercury made it their first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. They did not stop there, however. Drawing on years of experience, professional service and taking note of what modifications and features the professional recording engineers wished their original V76 modules had, Mercury took it one step farther than a "recreation." For example, the M76m's Channel Power Indicator glows orange when powered up and changes to red when phantom power is engaged. This indicator is also a back lit window (like the original) for the variable, 0 to +60dB, gain control (in 6dB increments). which works with a 0 to +10dB fine gain in 1dB increments. Other features added include a output level fader, impedance switch, Direct Input for instruments, and Phase Reverse-- all per channel. The Mercury M76m is the perfect combination of the old and the new. You will hear what you have always loved about the "vintage" amplifiers: tone, warmth and air. But you will have flexibility with more features that surpass the original. This combination will make the Mercury M76m the new benchmark in tube studio microphone amplifiers! 

"With it's stellar sound, faithfulness to the original V76, unique tonal flexibility, and helpful array of modern conveniences, the M76m could very well be the ultimate 'vintage-style' mic preamp available today."
- Pete Weiss, TapeOp Magazine #49

Mercury M76m Dual Channel Studio Microphone Amplifier
A recreation of the original German designed Telefunken / Siemens amplifier module. Dual Channel.

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