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Mercury Recording Equipment Company
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-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.
Frequencies
Low Frequency Select (CPS): 20, 30, 60, 100, 200 Hz
Low Frequency Boost Control: Shelf Boost, 0dB to +13dB
Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB
High Frequency Select (KCS): 3, 4, 5, 8, 10, 12, 16 kHz
High Frequency Boost Control: Shelf Boost, 0dB to +16dB
High Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16dB
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 Co. 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
Mono, tube, studio program equalizer
...
Learn more
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.
Frequencies
Low Frequency Select (CPS): 20, 30, 60, 100, 200 Hz
Low Frequency Boost Control: Shelf Boost, 0dB to +13dB
Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB
High Frequency Bandwidth Control: Sharp to Broad
High Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k
High Frequency Boost Control: Shelf Boost, 0dB to +18dB
High Frequency Shelf Attenuate Select: 5, 10, & 20k
High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB
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 Co. 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
Mono, tube, studio program equalizer
...
Learn more
The new
Mercury M72s (Mk. III)
is Mercury's flagship, valve studio microphone amplifier. The M72s is based on the most sought after vintage amplifier module, the ‘Telefunken/ Siemens V72s.’ Which is most famous for being used in REDD.37 consoles, which was used on all the early Beatle recordings by George Martin at Abbey Road Studios in London, England.
The Mercury M72s (MK. III) has a new look but same stellar tone and craftsmanship and still proudly built in the USA. We only simplified the look of the front panel by deleting a few vintage inspired, aesthetic extras of the MK II, which is still available as the M72s-CSV (custom shop version), but is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers we have used since we started building the first M72s at Mercury Recording Equipment.
The Mercury M72s is based on the very rare V72s module used in consoles due to a minimal amount made. The more common V72 amplifier modules (not marked with lower case s, ie V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and, in some cases are now in need of much repair. Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a "secret weapon" for many studio musicians. Mercury Recording Equipment is proud to have a faithful reproduction in the M72s. We have nearly 20 years experience with the amplifiers and feel we have captured not only of how the units behave, but of how they sound overall. We are confident, with the addition of modern features, making the M72s much more versatile, without sacrificing the most important feature: Musicality.
Mercury M72s Features
The Gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments, controlled with a high quality rotary switch. Also, there is an option of a selectable Input Pad of -16dB or -28dB for even more control. Additionally, when the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run signal through the M72s to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: Phantom Power (on/off) , Phase (Polarity) Reversal, and our amazing sounding F.D.I. (FET Direct Input) circuit per channel.
The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone pre-amp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each pre-amp comes through.
The Mercury M72s has the rich lows and punchy mids giving you that ‘instant’ vocal tone, a realistic acoustic guitar tone, or add punch to a bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s Studio Microphone Amplifier has the ‘vintage’ tone and break up like the original circuit but it is a bit more musical over all (not cleaner, more musical, there is a huge difference).
"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 exceeded my expectations". - David Marquette (Marquette Audio Labs / Mercury Recording Equipment Co. ) "The M72 brings the vocal up in your face in a mix. Not only that, when you're singing, you can distinguish every little nuance."
- Ricky Skaggs
“Having used the Mercury M72s I now see no need to scour Eastern Europe to search for the last of the original units.” - Joe Chiccarelli "The M72s sounds every bit as good as an original V72s, imparting that nice pillowy softness that is so difficult to get..."
- Pete Weiss, TapeOp Magazine
Specifications
Mic Input Impedance: Approx. 2k
Suggested Source Impedance: Approx. 200 ohms
Input Impedance with -28dB Pad: Approx. 4k
DI Input Impedance: 2M ohms
Internal Output impedance: 30-50 ohms (depends on gain setting)
Suggested Minimum Load: 500 ohms
Max. Mic Signal Input Level (@ 20 Hz): +34dBu with -28dB Pad engaged / +6dBu with
Pad not engaged
Max. Output Level: +22dBu
Frequency response: 20 Hz to 20 kHz +/- 0.5dB
Harmonic Distortion: All musically related low orders of harmonics, with no
significant order above 5th.
Tubes: 2x EF806s, per channel
Rack Size: 2U
FAQ: Mercury M72s vs. M76m, Whats the difference?
Both are multipurpose tools for making music. But they do sound very different.
Tone
The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly "EQ'd". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.
Gain
The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).
Mercury M72s MKIII
Dual mono, tube, studio microphone amplifiers
...
Learn more
The
Mercury M72s/1 (Mk. III)
is the mono version of our flagship, Tube Mercury Studio Microphone Amplifier, the M72s. The Mercury M72s is based on the most sought after vintage amplifier module, the Telefunken/Siemens V72s, which is most famous for being used in REDD.37 consoles, which was used on all the early Beatle recordings by George Martin at Abbey Road Studios in London, England.
The Mercury M72s is based on the very rare V72s module used in consoles due to a minimal amount made. The more common V72 amplifier modules (not marked with lower case s, ie V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and, in some cases are now in need of much repair.
Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a "secret weapon" for many studio musicians. Mercury Recording Equipment is proud to have a faithful reproduction in the M72s. We have nearly 20 years experience with the amplifiers and feel we have captured not only of how the units behave, but of how they sound overall. We are confident, with the addition of modern features, making the M72s much more versatile, without sacrificing the most important feature: Musicality.
Mercury M72s Features
The Gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments, controlled with a high quality rotary switch. Also, there is an option of a selectable Input Pad of -16dB or -28dB for even more control. Additionally, when the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run signal through the M72s to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: Phantom Power (on/off) , Phase (Polarity) Reversal, and our amazing sounding F.D.I. (FET Direct Input) circuit per channel.
The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone pre-amp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each pre-amp comes through.
The Mercury M72s has the rich lows and punchy mids giving you that ‘instant’ vocal tone, a realistic acoustic guitar tone, or add punch to a bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s Studio Microphone Amplifier has the ‘vintage’ tone and break up like the original circuit but it is a bit more musical over all (not cleaner, more musical, there is a huge difference).
"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 exceeded my expectations".
- David Marquette (Marquette Audio Labs / Mercury Recording Equipment Co. )
"The M72 brings the vocal up in your face in a mix. Not only that, when you're singing, you can distinguish every little nuance."
- Ricky Skaggs
“Having used the Mercury M72s I now see no need to scour Eastern Europe to search for the last of the original units.”
- Joe Chiccarelli
"The M72s sounds every bit as good as an original V72s, imparting that nice pillowy softness that is so difficult to get..."
- Pete Weiss, TapeOp Magazine
Specifications
Mic Input Impedance: Approx. 2k
Suggested Source Impedance: Approx. 200 ohms
Input Impedance with -28dB Pad: Approx. 4k
DI Input Impedance: 2M ohms
Internal Output impedance: 30-50 ohms (depends on gain setting)
Suggested Minimum Load: 500 ohms
Max. Mic Signal Input Level (@ 20 Hz): +34dBu with -28dB Pad engaged / +6dBu with
Pad not engaged
Max. Output Level: +22dBu
Frequency response: 20 Hz to 20 kHz +/- 0.5dB
Harmonic Distortion: All musically related low orders of harmonics, with no
significant order above 5th.
Tubes: 2x EF806s, per channel
Rack Size: 2U
FAQ: Mercury M72s vs. M76m, Whats the difference?
Both are multipurpose tools for making music. But they do sound very different.
Tone
The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly "EQ'd". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.
Gain
The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).
Mercury M72s/1 MKIII
Mono, tube, studio microphone amplifier
...
Learn more
The new
Mercury M76m (Mk. III)
is the latest version of Mercury's benchmark, tube Mercury Studio Microphone Amplifier. The M76m is based on one of the most sought after vintage amplifier modules, the ‘Telefunken/Siemens’ V76m. These modules were used in European broadcast and recording studios in the 1960’s. Later, after tube consoles where out of favor and replaced by smaller (yet with more channels), discrete, transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in the studios around the world.
Inspired by the vintage tone and craftsmanship of the classic, the Mercury M76m (Mk. III) focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The new M76m (Mk. III) has a new look but same stellar tone and craftsmanship and still proudly built in the USA. We only simplified the look of the front panel by deleting the vintage inspired, aesthetic extras of the M76m MK II, which is still available on the M76m-CSV (custom shop version). Most importantly, the M76m (Mk III) is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers we have used since we started building the first M76m at Mercury Recording Equipment.
The Mercury M76m is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on nearly 20 years experience repairing, rebuilding, and most importantly listening to the Telefunken/Siemens V76 modules it was our first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. We are confident we have built what is quite possibly the ultimate combination of vintage sound and modern features in a modern tube microphone amplifier. We feel we have captured not only of how the units behave, but of how they sound overall. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and High/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers.
Features and Controls
The Mercury M76m Gain Control of 0 to +60dB in 6dB increments, works in conjunction with the Level Control and Output Attenuation. The Level Control, which will work as a ‘fader’, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical (tube) “break up” by decreasing your level (control) and increasing the (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings. We have also added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on/off) , Phase (Polarity) Reverse, and our amazing sounding F.D.I. (FET Direct Input) Circuit.
The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.
"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
About Mercury Custom Shop
Mercury Recording Equipment Co. was started with inspiration of warm tones, quality craftsmanship and the classic aesthetics from the vintage recording equipment used and appreciated for the past 60 years to record music. Mercury tenaciously created our line as close to original sound, build quality and aesthetic as we could with a new build. We added some features more for aesthetic purposes then functionality which have been very appreciated by vintage gear aficionados. But, those aesthetic ‘extras’ add additional costs to each product.
So to help keep costs down, and make our world class products more affordable we will offer two versions of some products. Neither will compromise the standard of quality Mercury is known for, or the sound. Because the circuit and parts internally are both exactly the same in every way. Mercury and our dealer network will offer the new M72s (Mk. III) as our standard model and the M72s-CSV (Custom Shop Version) with aesthetic extras to look and feel like the vintage models. As well as, the new M76m (Mk. III) minus the backlit gain dial and nickel plated “handles” too pay homage to the vintage modules of yesteryear. But, if you are looking for the vintage vibe, all those features are still proudly offered on the M76m-CSV (Custom Shop Version).
"This is my way of compromising without compromising... offering both versions of some products. Trying to keep alive the original vision I had for Mercury providing premium quality recording products, with the vintage look, tone and musicality only found in the past, and doing this as affordable as we can..."
- David Marquette
Specifications
Mic Input Impedance: Approx. 2k
Suggested Source Impedance: Approx. 200 ohms
DI Input Impedance: 2M ohms
Internal Output impedance: 30-50 ohms (depends on gain setting)
Suggested Minimum Load: 500 ohms
Frequency response: 20 Hz to 20 kHz +/- 0.5dB
Harmonic Distortion: All musically related low orders of harmonics, with no
significant order above 5th.
Tubes: 3x EF806s, 1x E83F, per channel
Rack Size: 3U
FAQ: Mercury M72s vs. M76m, Whats the difference?
Both are multipurpose tools for making music. But they do sound very different.
Tone
The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly "EQ'd". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.
Gain
The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).)
Mercury M76m MKIII
Dual mono, tube, studio microphone amplifiers
...
Learn more
The new
Mercury M76m/1 (Mk. III)
is a mono version of Mercury's benchmark, tube Mercury Studio Microphone Amplifier, the M76m. The M76m is based on one of the most sought after vintage amplifier modules, the ‘Telefunken/Siemens’ V76m. These modules were used in European broadcast and recording studios in the 1960’s. Later, after tube consoles where out of favor and replaced by smaller (yet with more channels), discrete, transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in the studios around the world.
Inspired by the vintage tone and craftsmanship of the classic, the Mercury M76m (Mk. III) focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The new M76m (Mk. III) has a new look but same stellar tone and craftsmanship and still proudly built in the USA. We only simplified the look of the front panel by deleting the vintage inspired, aesthetic extras of the M76m MK II, which is still available on the M76m-CSV (custom shop version). Most importantly, the M76m (Mk III) is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers we have used since we started building the first M76m at Mercury Recording Equipment.
The Mercury M76m is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on nearly 20 years experience repairing, rebuilding, and most importantly listening to the Telefunken/Siemens V76 modules it was our first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. We are confident we have built what is quite possibly the ultimate combination of vintage sound and modern features in a modern tube microphone amplifier. We feel we have captured not only of how the units behave, but of how they sound overall. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and High/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers.
Features and Controls
The Mercury M76m Gain Control of 0 to +60dB in 6dB increments, works in conjunction with the Level Control and Output Attenuation. The Level Control, which will work as a ‘fader’, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical (tube) “break up” by decreasing your level (control) and increasing the (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings. We have also added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on/off) , Phase (Polarity) Reverse, and our amazing sounding F.D.I. (FET Direct Input) Circuit.
The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.
"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
About Mercury Custom Shop
Mercury Recording Equipment Co. was started with inspiration of warm tones, quality craftsmanship and the classic aesthetics from the vintage recording equipment used and appreciated for the past 60 years to record music. Mercury tenaciously created our line as close to original sound, build quality and aesthetic as we could with a new build. We added some features more for aesthetic purposes then functionality which have been very appreciated by vintage gear aficionados. But, those aesthetic ‘extras’ add additional costs to each product.
So to help keep costs down, and make our world class products more affordable we will offer two versions of some products. Neither will compromise the standard of quality Mercury is known for, or the sound. Because the circuit and parts internally are both exactly the same in every way. Mercury and our dealer network will offer the new M72s (Mk. III) as our standard model and the M72s-CSV (Custom Shop Version) with aesthetic extras to look and feel like the vintage models. As well as, the new M76m (Mk. III) minus the backlit gain dial and nickel plated “handles” too pay homage to the vintage modules of yesteryear. But, if you are looking for the vintage vibe, all those features are still proudly offered on the M76m-CSV (Custom Shop Version).
"This is my way of compromising without compromising... offering both versions of some products. Trying to keep alive the original vision I had for Mercury providing premium quality recording products, with the vintage look, tone and musicality only found in the past, and doing this as affordable as we can..."
- David Marquette
Specifications
Mic Input Impedance: Approx. 2k
Suggested Source Impedance: Approx. 200 ohms
DI Input Impedance: 2M ohms
Internal Output impedance: 30-50 ohms (depends on gain setting)
Suggested Minimum Load: 500 ohms
Frequency response: 20 Hz to 20 kHz +/- 0.5dB
Harmonic Distortion: All musically related low orders of harmonics, with no
significant order above 5th.
Tubes: 3x EF806s, 1x E83F, per channel
Rack Size: 2U
FAQ: Mercury M72s vs. M76m, Whats the difference?
Both are multipurpose tools for making music. But they do sound very different.
Tone
The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly "EQ'd". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.
Gain
The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).
Mercury M76m/1 MKIII
Mono, tube, studio microphone amplifier
...
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The
Mercury EQ-P2
is two independent (dual mono) channels of our popular Mono, Mercury EQ-P1 Studio Program Equalizer in a 3U package. Mercury EQ-P2 is based on the vintage Pultec EQP1a circuit. The Mercury EQ-P2 has a passive EQ circuit with a fully balanced (push-pull) gain make up amplifier. This new Mercury production utilizes only the highest quality passive components, while remaining true to the original classic and like all Mercury products has transformer balanced input and outputs. Besides a much more powerful and stable power supply and running DC on the heaters, rather than AC, an additional frequencies to expand and make it more flexable, only other modernization is one of Mercury EQP2’s most popular features, the Mercury I.S.T. Switch.
The Mercury EQ-P2 has transformer balanced input and output, a passive EQ circuit and with a fully balanced (push-pull) gain make up amplifier. The new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. Besides a much more powerful and stable power supply and running DC on the heaters, rather than AC, only other modernization is one of Mercury EQ-P2’s best features, the Mercury I.S.T. Switch.
The Mercury I.S.T. Switch offers the choice to switch the Interstage Transformer in or out of the circuit. Giving engineers a choice with a flick of a switch between the standard Mercury warm, musical, “vintage” tone with the I.S.T. Switch not engaged (out) or a much more open and airy version of the same full, warm tone with the switch engaged (in). In the original Pultec EQP the Interstage transformer was always in the signal path. With the I.S.T. switch engaged and the interstage transformer not in the circuit, there is slight widening of the sound and slightly more open top end. Many of today's engineers value this feature on the Mercury EQ-P1 and now the Mercury EQ-P2 Studio Program Equalizers to have choice between two great, but different sounds without changing their frequencies or setting and hearing the change instantly. Note: With the IST engaged or not, the input and output transformers are always in the circuit.
Frequencies
Low Frequency Select (CPS): 20, 30, 60, 100, 200 Hz
Low Frequency Boost Control: Shelf Boost, 0dB to +13dB
Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB
High Frequency Bandwidth Control: Sharp to Broad
High Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k
High Frequency Boost Control: Shelf Boost, 0dB to +18dB
High Frequency Shelf Attenuate Select: 5, 10, & 20k
High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB
Additional information
Tubes: 1x 12AX7 and 1x 12AU7, per channel
Rack Size: 3U
The Mercury EQ-H1, EQ-P1, EQ-H2 and EQ-P2 are based on the original Pultec equalizers which 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. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier (‘Pultec style’) equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feed back), 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 style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.
Now in this modern age of digital recording, where the source you put into the DAW is exactly what you have on the track, with no rounded edges, no slight compression and none of the “pixie dust” that came with analog tape, the Mercury family of equalizers are needed more than ever to help add the musicality, warmth and tone to your tracks that we have all treasured.
EQ-H2 vs EQ-P2
Simply, the key to the tone of these two circuits is it’s amplifier, and Mercury EQ-H2 and EQ-P2 have different amplifiers to make up the gain lost by the passive equalizer circuit, thus it has a different tone. Meaning the EQ-H2 and EQ-P2 sound different on the same application, and have a different reaction to the same instrumentation or voice.
The EQ-H2, like the mono version EQ-H1, is more punchy and robust and has a slight push in the low end and lower midrange. The EQ-P2, like the mono version EQ-P1, is more open and silky, and equally adds warmth to highs, mids and lows of your source. Although both sound amazing on any application and are both multi-purpose tools (equalizers) in the studio, if you had both you could then choose between applications.
Mercury EQ-P2
Dual mono, tube, studio program equalizer
...
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The
Mercury EQ-H2
is two independent (dual mono) channels of the Mercury EQ-H1 in a 2U package. The Mercury EQH2, like the EQ-H1, features a passive EQ circuit with a single ended gain make up amplifier topology, based on the vintage ‘Pultec EQH’ circuit. The Mercury EQ-H2 circuit provides a musically satisfying result unobtainable with active and parametric EQs, since the EQ-H2 does not rely upon negative feed back (and all it's associated phase and dynamic distortions) to achieve equalization. The EQH2, like all Mercury products, has transformer balanced (XLR) input and outputs. The only additions or changes to the original are a much more powerful and stable power supply and running DC on the heaters, rather than AC, and two additional frequency to expand the range and make it more flexible.
The EQ-H2, like the mono version EQ-H1, is more punchy and robust and has a slight push in the low end and lower midrange. The EQ-P2, like the mono version EQ-P1, is more open and silky, and equally adds warm to highs, mids and lows of your source. Although both sound amazing on any application and are both multi-purpose tools (equalizers) in the studio, if you had both you could then choose between applications. The Mercury EQ-H2 is warm and fluid but a bit "thicker" than the EQ-P2, thus shines on thickening (and pushing forward in the mix) your Vocals, Bass, Kick, Snare, and Acoustic Guitar etc... The Mercury EQ-P2 is great for Shaping and adding ‘air’ to your vocals, Acoustic instruments, Guitar, Piano etc... and is magical strapped across your two buss to add musicality to you mix.
Frequencies
Low Frequency Select (CPS; Cycles per second): 20, 30, 60, 100, 200 Hz
Low Frequency Boost Control: Shelf Boost, 0dB to +13dB
Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB
High Frequency Select (KCS; kilocycles per second ): 3, 4, 5, 8, 10, 12, 16 kHz
High Frequency Boost Control: Shelf Boost, 0dB to +16dB
High Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16db
Additional information
Tubes: 1x 12AX7 and 7 1x 12AU7, per channel
Rack Size: 2U
The Mercury EQ-H1, EQ-P1, EQ-H2 and EQ-P2 are based on the original Pultec equalizers which 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. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier (‘Pultec style’) equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feed back), 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 style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.
Now in this modern age of digital recording, where the source you put into the DAW is exactly what you have on the track, with no rounded edges, no slight compression and none of the “pixie dust” that came with analog tape, the Mercury family of equalizers are needed more than ever to help add the musicality, warmth and tone to your tracks that we have all treasured.
EQ-H2 vs EQ-P2
Simply, the key to the tone of these two circuits is it’s amplifier, and Mercury EQ-H2 and EQ-P2 have different amplifiers to make up the gain lost by the passive equalizer circuit, thus it has a different tone. Meaning the EQ-H2 and EQ-P2 sound different on the same application, and have a different reaction to the same instrumentation or voice.
The EQ-H2, like the mono version EQ-H1, is more punchy and robust and has a slight push in the low end and lower midrange. The EQ-P2, like the mono version EQ-P1, is more open and silky, and equally adds warmth to highs, mids and lows of your source. Although both sound amazing on any application and are both multi-purpose tools (equalizers) in the studio, if you had both you could then choose between applications.
Mercury EQ-H2
Dual mono, tube, studio program equalizer
...
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New from the Mercury Custom Shop is Mercury’s twist on the professional studio channel, the
Mercury Studio Channel 76
. The MSC-76 is two independent channels of a Mercury M76m Studio Microphone Amplifier and a Mercury EQ-P1 Program Equalizer. Each amplifier, the mic amplifier and EQ’s gain make up amplifier are fully transformer balanced, with the option to use them together or independently with separate XLR inputs and outputs on the rear of chassis. The MSC-76 is simply two great Mercury products in one 3U chassis.
Looking at other choices of "combo boxes," especially ones with compressors along with pre-amps and EQs, choosing to cut corners to either be able to save costs, which usually means less transformers, and or to save space to be able to fit all the components in the products chassis, we wanted to do something much different. Unlike many "channel strips" or "combo boxes" in the marketplace no corners were cut in the Mercury Studio Channel 76.
With the philosophy that each part of your signal chain is important but, after your choice of microphone for a specific source, the foundation starts with your microphone amplifier. We designed our Mercury Studio Channels to be an obvious choice to follow any microphone in your signal chain by matching up our tube, Mercury Studio Microphone Amplifiers with our tube, Studio Program Equalizers. We did not consider a compressor or limiter to be part of the product from the very beginning, thinking just like a microphone, the compressor is going to vary much more often depending on application or source you are recording concentrated on the heart of the signal chain. This would allow you to use it with any microphone you have in your mic locker and any compressor in your rack, making a Mercury Studio Channel an obvious choice for engineers and producers who are looking for tone, warmth and musicality.
The MSC-76 Mic Amplifier
The Mercury M76m Studio Microphone Amplifier is a recreation of the original German designed Telefunken/Siemens amplifier module used in many European broadcast and recording desks in the 1960s. However, the V76 modules are known as an outboard rack mounted mic pre-amp and are highly sought after by studios and engineers all over the world.
Drawing on years of experience, repairing, rebuilding, and most importantly listening to the Telefunken/Siemens V76 modules it was our first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. Mercury has built what is quite possibly the ultimate combination of vintage sound and modern features to be the benchmark in a modern tube microphone amplifier.
"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
Tubes
The Mercury M76m amplifier uses 3x EF806s and 1x E83F, per channel
Features and Controls
The Mercury M76m has Gain Control of 0 to +60dB in 6dB increments, that works in conjunction with the Level control and Output Attenuation. The Level Control, which will work as a fader, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical "fuzz" by turning down your level (control) and adding more (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired. Unlike the original we have added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on/off) , Phase (Polarity) Reversal, and our amazing sounding F.D.I. (FET Direct Input) Circuit.
The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.
The MSC-76 Equalizer
The Mercury EQ-P1 is based on the vintage ‘Pultec EQP1a’ circuit, which uses a passive EQ circuit with a fully balanced (push-pull) gain make up amplifier. This new Mercury production utilizes only the highest quality passive components, while remaining true to the original and like all Mercury products has transformer balanced input and outputs. Besides a much more powerful and stable power supply and running DC on the heaters, rather than AC, only other modernization is one of Mercury EQP2’s most popular features, the Mercury I.S.T. Switch.
The Mercury I.S.T. Switch offers the choice to switch the Interstage Transformer in or out of the circuit. Giving engineers a choice with a flick of a switch between the standard Mercury warm, musical, "vintage" tone with the I.S.T. Switch not engaged (out) or a much more open and airy version of the same full, warm tone with the switch engaged (in). In the original Pultec EQP the Interstage transformer was always in the signal path. With the I.S.T. Switch engaged and the interstage transformer not in the circuit, there is slight widening of the sound and slightly more open top end. Many of today's engineers value this feature on the Mercury EQ-P1 and now the Mercury EQP2 Studio Program Equalizers to have choice between two great, but different sounds without changing their frequencies or setting and hearing the change instantly. Note: With the I.S.T. Switch engaged or not, the input and output transformers are always in the circuit.
Tubes
The Mercury EQ-P1 amplifier uses a 1x 12AX7 and 1x 12AU7, per channel.
Frequencies
Low Frequency Select (CPS): 20, 30, 60, 100, 200 Hz
Low Frequency Boost Control: Shelf Boost, 0dB to +13dB
Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB
High Frequency Bandwidth Control: Sharp to Broad
High Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k
High Frequency Boost Control: Shelf Boost, 0dB to +18dB
High Frequency Shelf Attenuate Select: 5, 10, & 20k
High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB
The Mercury EQ-H1 and EQ-P1 are based on the original Pultec equalizers which 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. The family of Pultec EQs were originally 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 feed back), 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 style as the equalizer of choice for those final touches while tracking or mixing and even mastering.
Mercury MSC-76 Studio Channel 76
M76m Studio Microphone Amplifier with EQP1 Studio Program Equalizer
...
Learn more
The MSC-72 Mic Amplifier
The M72s is based on the most sought after vintage "V series" module, the ‘Telefunken/Siemens V72s.’ Which is most famous for being used in REDD.37 consoles used on the early Beatle recordings by George Martin at Abbey Road Studios in London, England.
Unlike those vintage modules that had a fixed 34dB gain, the gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments. Also, there is an option of 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 to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: Phantom Power (on/off) , Phase (Polarity) Reversal, and our amazing sounding F.D.I. (FET Direct Input) Circuit.
The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.
The Mercury M72s has the rich lows and punchy mids giving you a instant vocal tone, or assisting with a realistic acoustic guitar tone, punch to bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s Studio Microphone Amplifier has that "vintage" tone and "break up" like the original circuit but it is a bit more musical over all (not cleaner, more musical, there is a huge difference).
Tubes
The Mercury M72s amplifier uses 2x EF806s, per channel
"The M72 brings the vocal up in your face in a mix. Not only that, when you're singing, you can distinguish every little nuance." - Ricky Skaggs
“Having used the Mercury M72s I now see no need to scour Eastern Europe to search for the last of the original units.” - Joe Chiccarelli
"The M72s sounds every bit as good as an original V72s, imparting that nice pillowy softness that is so difficult to get..."
- Pete Weiss, TapeOp Magazine
"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 (Marquette Audio Labs / Mercury )
The MSC-72 Equalizer
The Mercury EQ-H1 features a passive EQ circuit with a single ended gain make up amplifier topology, based on the vintage ‘Pultec EQH’ circuit. The Mercury EQH2 circuit provides a musically satisfying result unobtainable with active and parametric EQs, since the EQH2 does not rely upon negative feed back (and all it's associated phase and dynamic distortions) to achieve equalization. The EQH2, like all Mercury products, has transformer balanced (XLR) input and outputs. The only additions or changes to the original are a much more powerful and stable power supply and running DC on the heaters, rather than AC.
EQH2 vs EQP2
Simply, the key to the tone of these two circuits is it’s amplifier, and Mercury EQ-H2 and EQ-P2 have different amplifiers to make up the gain lost by the passive equalizer circuit, thus it has a different tone. Meaning the EQH2 and EQP2 sound different on the same application, and have a different reaction to the same instrumentation or voice.
The EQH2, like the mono version EQ-H1, is more punchy and robust and has a slight push in the low end and lower midrange. The EQP2, like the mono version EQ-P1, is more open and silky, and equally adds warm to highs, mids and lows of your source. Although both sound amazing on any application and are both multi-purpose tools (equalizers) in the studio, if you had both you could then choose between applications. The Mercury EQH2 is warm and fluid but a bit "thicker" than the EQP2, thus shines on thickening (and pushing forward in the mix) your Vocals, Bass, Kick, Snare, and Acoustic Guitar etc... The Mercury EQP2 is great for Shaping and adding ‘air’ to your vocals, Acoustic instruments, Guitar, Piano etc... and is magical strapped across your two buss to add musicality to you mix. The Mercury EQ-H1 and EQ-P1 are based on the original Pultec equalizers which 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. The family of Pultec EQs were originally 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 feed back), 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 style as the equalizer of choice for those final touches while tracking or mixing and even mastering.
Tubes
The Mercury EQ-H1 amplifier uses a 1x 12AX7 and 1x 12BH7, per channel.
Frequencies
Low Frequency Select (CPS; Cycles per second): 20, 30, 60, 100, 200 Hz
Low Frequency Boost Control: Shelf Boost, 0dB to +13dB
Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB
High Frequency Select (KCS; kilocycles per second ): 3, 4, 5, 8, 10, 12, 16 kHz
High Frequency Boost Control: Shelf Boost, 0dB to +16dB
High Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16dB
Mercury MSC-72 Studio Channel 72
M72s Studio Microphone Amplifier with EQH1 Studio Program Equalizer
...
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The
Mercury M72s-CSV
is based on the most sought after vintage amplifier module, the Telefunken/Siemens V72s, which is most famous for being used in REDD.37 consoles, which were used on all the early Beatle recordings by George Martin at Abbey Road Studios in London, England.
Inspired by the vintage tone, craftsmanship and practicality of the original, modular, tube amplifier from the console. We wanted to pay homage to this classic, ‘holy grail of tube amplifiers’ in every detail. From the color of paint, to the style of venting used, to the nickel platted handles that were used to remove it from the slotted DIN rack on the console side. Bringing back the sound, look and feel that inspired not only this product but this company, Mercury, to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation.
The Mercury M72s-CSV is based on the module used in consoles which are very rare due to a minimal amount made. The more common V72 amplifier modules (not marked with the lower case "s", ie V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair.
Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a "secret weapon" for many studio musicians. Mercury Recording Equipment is proud to have a faithful reproduction in the M72s-CSV. We have nearly 20 years experience with the amplifiers and feel we have captured not only of how the units behave, but of how they sound overall. We are confident, with the addition of modern features, making the M72s much more versatile, without sacrificing the most important feature: Musicality.
Mercury M72s-CSV Features
The Gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments, controlled with a high quality rotary switch. Also, there is an option of a selectable Input Pad of -16dB or -28dB for even more control. Additionally, when the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run signal through the M72s to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: Phantom Power (on/off) , Phase (Polarity) Reversal, and our amazing sounding F.D.I. (FET Direct Input) circuit per channel.
The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.
The Mercury M72s has the rich lows and punchy mids giving you that ‘instant’ vocal tone, a realistic acoustic guitar tone, or add punch to a bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s Studio Microphone Amplifier has the ‘vintage’ tone and break up like the original circuit but it is a bit more musical over all (not cleaner, more musical, there is a huge difference).
"The M72 brings the vocal up in your face in a mix. Not only that, when you're singing, you can distinguish every little nuance."
- Ricky Skaggs
“Having used the Mercury M72s I now see no need to scour Eastern Europe to search for the last of the original units.”
- Joe Chiccarelli
"The M72s sounds every bit as good as an original V72s, imparting that nice pillowy softness that is so difficult to get..."
- Pete Weiss, TapeOp Magazine
"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 (Marquette Audio Labs / Mercury )
Specifications
Mic Input Impedance: Approx. 2k
Suggested Source Impedance: Approx. 200 ohms
Input Impedance with -28dB Pad: Approx. 4k
DI Input Impedance: 2M ohms
Internal Output impedance: 30-50 ohms (depends on gain setting)
Suggested Minimum Load: 500 ohms
Max. Mic Signal Input Level (@ 20 Hz): +34dBu with -28dB Pad engaged / +6dBu with
Pad not engaged
Max. Output Level: +22dBu
Frequency response: 20 Hz to 20 kHz +/- 0.5dB
Harmonic Distortion: All musically related low orders of harmonics, with no
significant order above 5th.
Tubes: 3x EF806s, 1x E83F, per channel
Rack Size: 2U
About Mercury Custom Shop
Mercury Recording Equipment Co. was started with inspiration of warm tones, quality craftsmanship and the classic aesthetics from the vintage recording equipment used and appreciated for the past 60 years to record music. Mercury tenaciously created our line as close to original sound, build quality and aesthetic as we could with a new build. We added some features more for aesthetic purposes then functionality which have been very appreciated by vintage gear aficionados. But, those aesthetic ‘extras’ add additional costs to each product.
So to help keep costs down, and make our world class products more affordable we will offer two versions of some products. Neither will compromise the standard of quality Mercury is known for, or the sound. Because the circuit and parts internally are both exactly the same in every way. Mercury and our dealer network will offer the new M72s (Mk. III) as our standard model and the M72s-CSV (Custom Shop Version) with aesthetic extras to look and feel like the vintage models. As well as, the new M76m (Mk. III) minus the backlit gain dial and nickel plated “handles” too pay homage to the vintage modules of yesteryear. But, if you are looking for the vintage vibe, all those features are still proudly offered on the M76m-CSV (Custom Shop Version).
“This is my way of compromising without compromising... offering both versions of some products. Trying to keep alive the original vision I had for Mercury providing premium quality recording products, with the vintage look, tone and musicality only found in the past, and doing this as affordable as we can...”
- David Marquette
FAQ: Mercury M72s vs. M76m, Whats the difference?
Both are multipurpose tools for making music. But they do sound very different.
Tone
The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly "EQ'd". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.
Gain
The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).
Mercury M72s - CSV
Dual mono, tube, studio microphone amplifiers (custom shop version)
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The
Mercury M76m-CSV
(Custom Shop Version) is Mercury's benchmark, valve Studio Microphone Amplifier. The M76m is based on one of the most sought after vintage amplifier modules, the ‘Telefunken/Siemens’ V76m. These modules were used in European broadcast and recording studios in the late 1950’s and 60’s. Later, after tube consoles where out of favor and replaced by discrete, transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in the studios around the world.
Inspired by the vintage tone, craftsmanship and practicality of the original, modular, tube amplifier from the console. We wanted to pay homage in every detail. From the color of paint, to the style of venting used, to the nickel platted handles that were used to remove it from the slotted DIN rack on the console side. Bringing back the sound, look and feel that inspired not only this product but Mercury as a company, to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation.
Drawing on nearly 20 years experience, repairing, rebuilding, and most importantly listening to the ‘Telefunken/Siemens’ V76 modules it was our first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. We are confident we have built what is quite possibly the ultimate combination of vintage sound and modern features in a modern tube microphone amplifier. We feel we have captured not only of how the units behave, but of how they sound overall. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and High/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube 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
Features and Controls The Mercury M76m Gain Control of 0 to +60dB in 6dB increments, works in conjunction with the Level Control and Output Attenuation. The Level Control, which will work as a ‘fader’, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical (tube) “break up” by decreasing your level (control) and increasing the (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings. We have also added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on/off) , Phase (Polarity) Reversal, and our amazing sounding F.D.I. (FET Direct Input) Circuit.
The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.
About Mercury Custom Shop
Mercury Recording Equipment Co. was started with inspiration of warm tones, quality craftsmanship and the classic aesthetics from the vintage recording equipment used and appreciated for the past 60 years to record music. Mercury tenaciously created our line as close to original sound, build quality and aesthetic as we could with a new build. We added some features more for aesthetic purposes then functionality which have been very appreciated by vintage gear aficionados. But, those aesthetic ‘extras’ add additional costs to each product.
So to help keep costs down, and make our world class products more affordable we will offer two versions of some products. Neither will compromise the standard of quality Mercury is known for, or the sound. Because the circuit and parts internally are both exactly the same in every way. Mercury and our dealer network will offer the new M72s (Mk. III) as our standard model and the M72s-CSV (Custom Shop Version) with aesthetic extras to look and feel like the vintage models. As well as, the new M76m (Mk. III) minus the backlit gain dial and nickel plated “handles” too pay homage to the vintage modules of yesteryear. But, if you are looking for the vintage vibe, all those features are still proudly offered on the M76m-CSV (Custom Shop Version).
"This is my way of compromising without compromising... offering both versions of some products. Trying to keep alive the original vision I had for Mercury providing premium quality recording products, with the vintage look, tone and musicality only found in the past, and doing this as affordable as we can..."
- David Marquette
Specifications
Mic Input Impedance: Approx. 2k
Suggested Source Impedance: Approx. 200 ohms
DI Input Impedance: 2M ohms
Internal Output impedance: 30-50 ohms (depends on gain setting)
Suggested Minimum Load: 500 ohms
Frequency response: 20 Hz to 20 kHz +/- 0.5dB
Harmonic Distortion: All musically related low orders of harmonics, with no
significant order above 5th.
Tubes: 3x EF806s, 1x E83F, per channel
Rack Size: 3U
FAQ: Mercury M72s vs. M76m, Whats the difference?
Both are multipurpose tools for making music. But they do sound very different.
Tone
The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly "EQ'd". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.
Gain
The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).
Mercury M76m - CSV
Dual mono, tube, studio microphone amplifiers (custom shop version)
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The new
Mercury 66 Studio Limiting Amplifier (Mk. III)
is an ‘All Tube - All Transformer’, fully balanced, variable-bias limiter. Based on the most sought after product in this genre, the legendary Fairchild 660. This limiting amplifier is recognized essential tool for making great recordings. Many manufacturers have tried to copy the Fairchild circuit but have failed to capture the true sonic essence and presented a similar look and functionality but failed to capture the overall tone of the original. Until now.
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 modern build. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would "they" have done it today? So, the Mercury 66, like all Mercury products, has no I.C.’s (chips), and is proudly hand built and or assembled in the USA. Using no-compromise parts / components and has transformer balanced input and outputs. As well, with the Vintage style VU Meter, large bakelite knobs, powder coated chassis and front panel the Mercury 66 has a very distinctive 1950’s aesthetic so that they look as good as they sound!
Some might ask, Why recreate one of the most complicated pieces of recording equipment ever made? The Mercury 66 has a massive, custom power supply transformer, a choke, 3 audio transformers, a control amp transformer and 8 tubes squeezed into a 3U chassis. All together the M66 weighs in at 38 pounds for a mono amplifier! The answer is: Mercury 66 Studio Limiting Amplifier is based the classic Fairchild 660 limiting amplifier because we were inspired buy the unique sound that only this can circuit deliver to your audio signal path. There is truly nothing else like it. Proudly, using parts that are available today, we have met all the original specifications, but most importantly, the Mercury 66 sounds like a Fairchild 660.
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 Studio Limiting Amplifier uses a single push-pull stage of amplification which is transformer coupled input and output (XLRs) with 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.
One notable change on the Mercury 66 is the addition of the DC Adjust Control. On an original Fairchild 660 this was called DC Threshold and was on the rear of the unit (not accessible from front panel). We put that control on the front panel and labeled it DC Adjust to not confuse the Threshold function. The DC Adjust lets you control DC (Direct Current) in part of the circuit to give the user more control of the functionality and level of compression. This gives you the control how the amplifier reacts to the audio signal and basically how hard the compression tube ‘works’, allowing you to ‘smash’ the signal or just add a ‘soft touch’ of compression along with the velvet tone and overwhelming musicality of the amplifier. This is possible by turning the DC Adjust to the far left (counter clockwise) on the M66 you are adding more DC and adding more compression [or saturation] and if you turn to the far right (clockwise) you are decreasing the amount of DC and the amount compression [or saturation, for a lack of a better term and to make things easier to understand]. The best thing about this feature is you can find that ‘sweet spot’, for that perfect amount of compression. We like to think of this as the 'magic knob' as do most of our users and this sets the Mercury 66 apart from the original and other compressors and limiting amplifiers available today.
Front Panel Controls
Input Gain, AC Threshold, Attack/Release, DC Adjust, Meter Zero (Trim), Stereo Link and Power on/off Switch. M66 Attack and Release Times:
Position 1 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.3 ]
Position 2 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.8 ]
Position 3 - Attack [ Med. - 0.4 ] Release, in Seconds [ 2.0 ]
Position 4 - Attack [ Slow - 0.8 ] Release, in Seconds [ 5.0 ]
Position 5 - Attack [ Med. - 0.4 ] Release, in Seconds [ Auto: 2.0 peaks, 10.0 program ]
Specifications
Transformers: 600 ohm Input and Output
Gain: 7 db (no limiting)
Frequency response: 40 Hz- 15 kHz +/- 1 db
Noise: = -74 dB below OdBm
THD: = < 1%
Compression Ratio: 1:1 to 1:20
Attack Time: 1] 0.2, 2] 0.2, 3] 0.4, 4] 0.8 5] 0.4 6] 0.2 ms
Release Time: 1] 0.3, 2] 0.8, 3] 2 sec, 4] 5 sec, 5] auto 1, 6] auto 2
Tubes: (1) 6BC8, (2) 6V6, 12BH7, 12AX7, EL34, 5AR4 or GZ34, 5751
Rack Size: 3U
"The Mercury 66 has that thick, glommy quality that you just can't get with any other device. It's killer at taming kick drums, beefing up vocals, squashing room mics, giving that magical shimmery sustain to acoustic guitars, etc."
- Pete Weiss, TapeOp Magazine
Mercury M66 Users include:
Joe Chiccarelli, Billy Corgan (Smashing Pumpkins), Rhett Lawrence (Kelly Clarkson, Christina Aguilera), Devin Powers (Devin Powers Music, Movie and TV Scores), Scott Humphrey (Rob Zombie, Motley Crue, Bon Jovi), John McBride (Black Bird Studios and Rentals, Martina McBride) and Manny Marroquin, who has used his M66 on mixes for many Gold and Platinum Artists including: Alicia Keys, Brandy, Janet Jackson, Monica, Nikka Costa and many others!
Mercury 66 MKIII
All tube and all transformer, mono, linkable for stereo limiting Amplifier
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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 preamp - Class A, discrete, two-channel
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Mercury EQH1 & EQP1 - Program Equalizers
The Mercury EQ-H1 Program Equalizer has transformer balanced input and output, with a single ended gain make up amplifier. The EQ-H1’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 EQ-H1 Equalizer Pair
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Mercury EQH1 & EQP1 - Program Equalizers
The Mercury EQ-H1 Program Equalizer has transformer balanced input and output, with a single ended gain make up amplifier. The EQ-H1’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 EQ-P1 Equalizer Pair
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Get extra savings when you buy two.
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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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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 M76m MKIII (Demo Deal)
Dual-channel recreation of the original German designed Telefunken / Siemens amplifier module
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The new
Mercury M76m/1 (Mk. III)
is a mono version of Mercury's benchmark, tube Mercury Studio Microphone Amplifier, the M76m. The M76m is based on one of the most sought after vintage amplifier modules, the ‘Telefunken/Siemens’ V76m. These modules were used in European broadcast and recording studios in the 1960’s. Later, after tube consoles where out of favor and replaced by smaller (yet with more channels), discrete, transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in the studios around the world.
Inspired by the vintage tone and craftsmanship of the classic, the Mercury M76m (Mk. III) focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The new M76m (Mk. III) has a new look but same stellar tone and craftsmanship and still proudly built in the USA. We only simplified the look of the front panel by deleting the vintage inspired, aesthetic extras of the M76m MK II, which is still available on the M76m-CSV (custom shop version). Most importantly, the M76m (Mk III) is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers we have used since we started building the first M76m at Mercury Recording Equipment.
The Mercury M76m is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on nearly 20 years experience repairing, rebuilding, and most importantly listening to the Telefunken/Siemens V76 modules it was our first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. We are confident we have built what is quite possibly the ultimate combination of vintage sound and modern features in a modern tube microphone amplifier. We feel we have captured not only of how the units behave, but of how they sound overall. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and High/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers.
Features and Controls
The Mercury M76m Gain Control of 0 to +60dB in 6dB increments, works in conjunction with the Level Control and Output Attenuation. The Level Control, which will work as a ‘fader’, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical (tube) “break up” by decreasing your level (control) and increasing the (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings. We have also added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on/off) , Phase (Polarity) Reverse, and our amazing sounding F.D.I. (FET Direct Input) Circuit.
The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.
"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
About Mercury Custom Shop
Mercury Recording Equipment Co. was started with inspiration of warm tones, quality craftsmanship and the classic aesthetics from the vintage recording equipment used and appreciated for the past 60 years to record music. Mercury tenaciously created our line as close to original sound, build quality and aesthetic as we could with a new build. We added some features more for aesthetic purposes then functionality which have been very appreciated by vintage gear aficionados. But, those aesthetic ‘extras’ add additional costs to each product.
So to help keep costs down, and make our world class products more affordable we will offer two versions of some products. Neither will compromise the standard of quality Mercury is known for, or the sound. Because the circuit and parts internally are both exactly the same in every way. Mercury and our dealer network will offer the new M72s (Mk. III) as our standard model and the M72s-CSV (Custom Shop Version) with aesthetic extras to look and feel like the vintage models. As well as, the new M76m (Mk. III) minus the backlit gain dial and nickel plated “handles” too pay homage to the vintage modules of yesteryear. But, if you are looking for the vintage vibe, all those features are still proudly offered on the M76m-CSV (Custom Shop Version).
"This is my way of compromising without compromising... offering both versions of some products. Trying to keep alive the original vision I had for Mercury providing premium quality recording products, with the vintage look, tone and musicality only found in the past, and doing this as affordable as we can..."
- David Marquette
Specifications
Mic Input Impedance: Approx. 2k
Suggested Source Impedance: Approx. 200 ohms
DI Input Impedance: 2M ohms
Internal Output impedance: 30-50 ohms (depends on gain setting)
Suggested Minimum Load: 500 ohms
Frequency response: 20 Hz to 20 kHz +/- 0.5dB
Harmonic Distortion: All musically related low orders of harmonics, with no
significant order above 5th.
Tubes: 3x EF806s, 1x E83F, per channel
Rack Size: 2U
FAQ: Mercury M72s vs. M76m, Whats the difference?
Both are multipurpose tools for making music. But they do sound very different.
Tone
The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly "EQ'd". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.
Gain
The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).
Mercury M76m/1 MKIII (Demo Deal)
Mono, tube, studio microphone amplifier
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