Mic Pre/EQ Accessories

Results 1-20 of 22

1

Mic Pre/EQ Accessories

If you need more information please call 248-591-9276.

The <B>A Designs 500HR</B> is a dual slot, single space, rack mounted frame with power supply for A Designs and other 500 Series compatible audio modules. (Note: the 500HR will not work with the Neve 1073LB).<BR><BR>You are able to use the 500HR and A Designs module combinations in four basic ways: <BR><BR>1. Loaded with two preamps it becomes a dual channel Mic Pre <BR><BR>2. Loaded with two EQ’s it is a dual channel EQ <BR><BR>3. Loaded with one preamp and one EQ it is a complete pre/post EQ recording channel <BR><BR>4. Use one preamp and the EQ in the 500HR and bypass your pre on your guitar/bass/keyboard amplifier and have a totally different amp for any live situation! <BR><BR><B>Features:</B> 
<UL>
<LI>Compatible with all the A-Designs 500 series modules 
<LI>Internal regulated power supply w/ 48v phantom power 
<LI>Steel chassis construction 
<LI>LED 48v indicator 
<LI>Included power cord 
<LI>Connections Two XLR Inputs, electronically balanced, Two XLR, electronically balanced 
<LI>Power Requirements are100/120/230 VAC - 14W 
<LI>DC Power Output / Channel is 140mA @ "16VDC 
<LI>Dimensions are 19" x 1.75" x 8.25" [1RU] 
<LI>Weight (empty) 6 lbs</LI></UL>
<br><br>
<b>Check out these Quicktime Movies to SEE and HEAR A Designs in action!</b><br>
<I>Right click to save</I><br><BR>

<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Sax.mov" target="blank">Recording Saxophone with A Designs Pacifica and EM-PEQ</a>
<br>

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

A Designs Audio 500HR - 2 Slot Rack Frame w/PSU 1/2 off when you purchase any (2) NEW A Designs or Electrodyne modules
Dual Slot 500 Series Rack - 1 RU for two modules with 48 Volt Phantom and internal power supply
*Modules must be NEW and purchased at online price.

BAE 11-Module Rack Mount - with PSU
11-module rack mount wired to XLR connectors

BAE DLB Dual-Channel Desktop 500 Series Lunchbox - Unloaded
Desktop lunchbox to hold 2x 500 Series modules

BAE Six-Channel Lunchbox - with PSU
Six module portable rack wired to XLR connectors - includes PSU with +48v phantom power

BAE Six-Channel Lunchbox - with PSU (Demo Deal)
6 space Lunchbox w/psu and 48V

BAE Six-Channel Rackmount - with PSU
Six-module rack mount wired to XLR connectors

The <span style="font-weight: bold;">D.W. Fearn LP-1 Line Pad</span> is a two-channel accessory for use with the VT-1 or VT-2 Vacuum Tube Microphone Preamplifiers. It is simply a high-quality bridging-type pad that accepts line-level inputs (+4 dBm nominal) and produces a mic level output. The actual pad loss is 45 dB. When used in conjunction with the VT-1 or VT-2 Input Pad (-20 dB), it allows the mic preamp to accomodate line-level signals from consumer-level (-10 dBV) to high professional levels (+10 dBm or more).
<p>
The LP-1 is packaged in a heavy-duty die-cast aluminum box, painted with the same high-quality red paint and gold silk-screened labels as the other D.W. Fearn products. The Input and Output connectors are gold-contact XLR. 
</p><p>
 The LP-1 is typically used when the subtle signal-modifying characteristics of the VT-1 or VT-2 are needed on a line-level source, such as a previously-recorded track, or at the end of a processing chain. Several LP-1/VT-2 owners use the combination on the overall mix. At least one CD mastering facility uses the LP-1/VT-2 in the mastering chain. 
</p><p>
 The LP-1/VT-2 combination can also often be used to effectively salvage tracks that are otherwise too distorted or "edgy" for master use.</p>

D.W. Fearn LP-1 Dual Channel Line Pad
Dual Channel Line Pad

Focusrite Platinum A/D Card
Platinum A-D Card (TrakMaster, VM Pro, TT Pro, Penta)

<b>GML 9015 Power Supply </b><br> When power supplies are built into the same chassis as the audio circuitry, power transformers can radiate nasty magnetic fields into nearby audio paths increasing noise while additional heat generation brought on by transformers, rectifiers, and regulators can contribute to unwanted drift of operational parameters and premature failure of componentry. To avoid these problems, all GML outboard processors use stringently regulated and pure filtered external power supplies. All GML power supplies come with their dedicated detachable connecting cables as well as a country-specific detachable IEC mains power cord. Both the 8355 and the 9015 are internally switchable between 110v and 220v mains voltages making them flexible for engineers traveling overseas. Notably, these GML Power Supplies have an exceptionally wide input voltage tolerance (??30%) for reliable operation under questionable power conditions.<br><br><p><span style="font-style: italic;">No export</span><br>
</p>

GML 9015
Power supply for model 8900 Dynamic Range Controller

When we set out to develop the <b>Grace Design m802</b> eight channel remote control microphone preamplifier, we knew we had our work cut out for us. After all, the finest audio engineers in music recording, film scoring, major artist tours and premier recording schools have relied on the model 801R system for its sonic performance and reliability for years. 
<p>So the newly designed m802 system boasts many significant upgrades, which not only set it apart from its beloved predecessor, but from any other high performance mic preamplifier available. 
</p><p>The m802 can be controlled directly from Digidesign® ProTools|HD® systems, compatible control surfaces and many other MIDI devices. Working closely with Digidesign, our engineers have adapted their control spec to directly address the m802 as an integrated part of a ProTools|HD® system. Additionally, the m802 can be controlled by a wide variety of MIDI mappable devices, making it easily integrated into a wide variety of remote recording situations. 
</p><p>DPA® 4000 series 130V microphones are widely regarded as some of the finest reference-quality microphones available. But with a 130V power requirement, microphone preamplifier options have been limited. So we have made the m802 an excellent compliment for DPA® microphones by adding a 130V power option, available on a per channel pair basis. 
</p><p>Most model 801R users would happily testify that was the ultimate transparent, high-fidelity mic amplifier circuitry. And while they wouldn’t be wrong, we weren’t quite done tweaking. First, the signal path of the m802 has been updated to be fully balanced from start to finish, resulting in a noticeable dynamic range improvement. Next, output current has been increased so that even longer audio cable runs can be achieved without signal loss. Finally, we have included a provision for a high definition 24-bit/192 kHz converter card in the future. 
</p><p>We have completely redesigned the Remote Control Unit (RCU) to provide greatly improved ergonomics and system control. The updated RCU now offers dedicated individual channel select switches and we have added a highly visible blue LED numeric display for channel gain settings. The RCU will effortlessly control a system of eight m802s from up to 1000’ away. And both the RCU and the m802 now come with a high contrast, easy on the eyes white backlight LCD. 
</p><p>The m802 system now resides in the same bold, stainless steel chassis as our m series monitoring systems, which is quite rugged and easy to maintain. 
</p><p>Whatever your application, we invite you to discover the remarkable sonic performance, functionality and reliability of our new m802. We’re confident that it will help you make the finest recordings of your career. </p><p><span style="font-weight: bold;">Preamplifier Features</span><br></p><ul><li>Fast, musical transimpedance amplifier architecturefully balanced, transformeless design</li><li>Flexible digital metering with peak hold and reset</li><li>Controllable from Digidesign® ProTools|HD® systems and compatible control surfaces (and many other MIDI devices)</li><li>Dual high-current outputs (XLR+D-Sub) drive long cable runs and loads down to 50 Ohms</li><li>Fast, efficient Philips I2C serial protocol to control preamplifiers from up to 1000 feet away</li><li>Gain range of -7dB to +63dB in 1.5 dB steps</li><li>New selectable ribbon mic mode</li><li>Channel group mode (perfect for stereo pairs, subgroups)</li><li>RCU able to address up to 8 units (64 channels)</li><li>Front panel lockout mode</li><li>Large neutral backlit LCD display</li><li>15 User preset memory locations, for saving preamplifier settings (gain, phantom power, phase)</li><li>130V phantom power available, per channel pair, for DPA microphones</li><li>five year transferable warranty on parts and labor<br><div style="text-align: left;"><br><span style="font-weight: bold;">A/D Converter Features</span></div></li><li>Absolute purist A/D converter performance: 24 bit, 44.1kHz – 192kHz sample rates</li><li>Outputs include 2x8ch AES3 on DB25, 1x8ch AES3-id on 4 BNC connectors (supports double wire mode)</li><li>Optional ADAT optical output module. Supports s/MUX for 88.2-96kHz sample rates</li><li>Multiple clock sources: Internal crystal, external word clock and Digidesign™ loop sync</li><li>Wordclock in and out, clock output can be word clock in, recovered word clock or internal ref word clock</li><li>S-Lock™ dual stage PLL for extremely low jitter without sample rate conversion</li><li>Ultra pure high performance analog front end</li><li>Very low distortion conversion: 0.0002% THD+N</li><li>Low phase noise, wide lock PLL for external clock. Locks to Fs +/- 8%</li><li>Extremely low jitter s-Lock™ crystal based PLL</li><li>8 channel AES3-id/IEC60958 (S/PDIF) outputs on BNC</li><li>Single wire and dual wire operation (8 channels on DB25, 4 channels on BNC)</li><li>All ADC parameters are adjustable from the m802RCU or m802 front panel</li><li>All data outputs are transformer coupled</li><li>five year transferable warranty on parts and labor</li></ul><p><br><br></p><p><br></p>

Grace Design m802
8-channel remote preamplifier

The <b>Grace Design m802A/D</b> provides 8-channel, high performance A/D converter option for the m802 remote controllable preamp system. Designed to be seamlessly integrated into a Pro Tools|HD compatible m802 preamp, the new 24-bit/192kHz capable A/D converter option represents a new level of sonic performance and reliability.
<br><br>
Physically, the A/D consists of a hardware module that's installed internally in an m802 chassis and whose connectors are brought out to a rear panel slot. Two versions of the A/D are available. The first includes a DB-25 that provides two parallel 8-channel sets of AES3 format outputs in single-wire mode or (8) channels in dual-wire. There are also (4) BNC connectors that accommodate AES3-id/S/PDIF formats. These BNC's provide a total of (8) channels in single-wire mode or (4) in dual-wire. For clocking duties, a Word Clock input and Word Clock/Loop Sync output are provided on BNC connectors. The 2nd version of the A/D trades off the AES3-id/S/PDIF BNC outputs for (2) optical connectors that allow two parallel 8-channel sets in ADAT format or (8) channels of SMUX at 96kHz.
<br><br>
An A/D converter can be divided into three basic functional blocks: the analog input stage, the A/D converter, and clock generation (or regeneration). The analog input stage provides fully differential circuitry that contains no electrolytic capacitors and utilizes precision 0.5% tolerance thin film resistors, which guarantees no signal coloration from capacitor dielectric absorption and resistor thermal modulation. Careful attention to grounding and power supply layout guarantees no sonic aberrations caused from unwanted interference from digital circuitry.
<br><br>
The A/D converter itself is the Cirrus CS5381. This converter employs a fifth order delta-sigma modulator and a low pass filter that exhibits very wide dynamic range and low latency. With a gentler slope digital filter than other ADC chips, the CS5381 is the most musical of the high end converter ICs and is capable of 120dB dynamic range with distortion and noise artifacts at less than -110dB. Separate power supplies for the analog and digital portions of the A/D converter ensure that the precision delta sigma modulator will not be affected by other surrounding circuitry. As well, the differential inputs provide additional input noise rejection.
<br><br>
The m802 A/D converter employs a two stage PLL system to provide practically jitter-free recovered clocks with extremely high incoming jitter attenuation. The first stage is a wide lock range, ultra low noise, analog PLL. This stage can lock to incoming word clocks and Digidesign Loop Sync signals with a +/-8% lock range. Rather than using standard CMOS based PLL chips for the first stage PLL, Grace uses an extremely quiet, discrete VCO. When using a quality external clock source, this PLL alone will provide a nearly crystal quality clock.
<br><br>
When the incoming sample rate is within +/-200 ppm of the selected sample rate, the secondary (our proprietary s-Lock) crystal based PLL will lock to the first stage PLL, providing the quietest possible recovered sample clock to the A/D converters. The s-Lock PLL is capable of extreme rejection of incoming jitter, which begins at less than 0.1Hz and is better than 60dB at 1kHz.

Grace Design m802 A/D ADAT Converter
m802 A/D converter card for the m802 preamplifier

The <b>Grace Design m802A/D</b>  converter card option provides m802 users with state of the art A/D conversion for the most demanding music recording applications. The purpose for this new card is to provide A/D conversion technology capable of matching the transparent, musical character of our mic preamplifiers, with the combination of the two creating a new level of true audio purity. To understand what makes our A/D converter unique, we’ll discuss the design’s three basic functional blocks: the analog input stage, the A/D converter, and the clock generation (or regeneration).
<br><br>
<b>Analog Input Stage</b>
<br>
Our converter’s analog input circuitry is simple and pure. This fully differential circuitry contains no electrolytic capacitors and utilizes precision 0.5% tolerance thin film resistors, to ensure that there will be no signal coloration from capacitor dielectric absorption and resistor thermal modulation. Careful attention to grounding and power supply layout eliminates any sonic aberrations caused from unwanted interference from digital circuitry. The analog input amplifiers are powered from their own dedicated Voltage regulators and each analog power supply rail is double regulated to provide extreme isolation from power line related noise. Driving the input of modern delta-sigma converters requires a low driving impedance and high current from the A/D input driver, and our experience from designing microphone amplifiers with precision line drivers translates very well to this task.
<br><br>
Also, there are significant advantages by having the A/D converter circuit wired directly from the analog microphone amplifier outputs (opposed to having separate preamplifier and converter chassis’). First, by having the preamplifier and converter in the same electrical enclosure, EMI interference from external sources (i.e. RF interference and ground loop hum) is greatly reduced. Additionally there is no need for ESD protection circuitry, RFI filtering, and complex input level adjusting circuits. The result is the most simple and pure signal path attainable with an absolute minimum of signal coloration.
<br><br>
<b>A/D Converter</b>
<br>
The A/D converter employs a fifth order delta-sigma modulator and a low pass filter that exhibits very wide dynamic range and low latency. With a more gentle slope digital filter than other A/D chips, it is the most musical of the high end converter ICs. It is capable of 120dB dynamic range with distortion and noise artifacts at less than -110dB. Separate power supplies for the analog and digital portions of the A/D converter ensures that the precision delta sigma modulator will not be affected by other surrounding circuitry. As well, the differential inputs provide additional input noise rejection.
<br><br>
<b>Clocks</b>
<br>
A perfectly executed analog input stage and the best performing A/D converter IC can only result in audio performance as good as the quality of the sampling clock. Even the smallest amounts of clock jitter will readily degrade the performance of the converter by introducing non-harmonically related noise and distortion.
<br><br>
When operating on an internal clock, the A/D converter sample clock is generated by a quartz oscillator which has very low jitter. However, many applications require that the A/D converter be synchronized to an external clock source, usually in the form of a word clock, which is where the greatest challenge arises.
<br><br>
There is a common misconception that using the word clock input on any piece of digital audio equipment will result in better sonic performance. In reality, the vast majority of word clock PLL circuits will have more intrinsic jitter than the word clock signal itself and usually more intrinsic jitter than the PLL within the AES/S/PDIF receiver chip. As well, these PLLs usually have no incoming jitter attenuation in the audio band.
<br><br>
Our A/D converters employ a two stage PLL system to provide practically jitter-free recovered clocks with extremely high incoming jitter attenuation. The first stage is a wide lock range ultra low noise analog PLL, which can lock to incoming word clocks and Digidesign Loop Sync signals with a +/-8% lock range. Rather than using standard CMOS based PLL chips for the first stage PLL, we use an extremely quiet, discrete VCO (voltage controlled oscillator). When using a quality external clock source, this PLL alone will provide a nearly crystal quality clock. The incoming jitter rejection of this PLL begins at 500Hz and increases at 12dB/octave with rising frequency. The wide lock range allows for the converter to operate in vari-speed applications without a sacrifice in audio performance, provided that the external clock source is relatively low jitter.
<br><br>
Then, when the incoming sample rate is within +/-200 ppm of the selected sample rate, the secondary (our proprietary s-LOCK™) crystal based PLL will lock to the first stage PLL, providing the quietest possible recovered sample clock to the A/D converters. The s-LOCK PLL is capable of extreme rejection of incoming jitter, which begins at less than 0.1Hz and is better than 60dB at 1000Hz.
<br><br>
The word clock output connector(s) can output the incoming word clock or the recovered word clock from one of the two on board PLLs. If the incoming clock is of dubious quality, the output can transmit the jitter free version. If several A/D converters are to be used simultaneously, the word clock output jack can output a buffered version of the input clock for a daisy-chain configuration.
<br><br>
While it would be very easy (and economical) to provide “jitter free” sample clocks by routing the audio data through an ASRC (asynchronous sample rate converter), we believe that the convenience of these circuits does not outweigh the potential sonic degradation caused by additional signal processing. The performance of the s-lock PLL renders even the worst case interface jitter problems to a level well below the noise floor of the A/D converter.
<br><br>
Whatever your application, the m802 preamplifier/ A/D converter provides perfectly pristine preamplifier and converter performance, combined in a single, powerful and elegant package. 
<br><br>
<b>The Grace Design m802A/D Features:</b>
<ul>
<li>Absolute purist A/D converter performance: 24 bit, 44.1kHz – 192kHz sample rates

<li> Multiple clock sources: Internal crystal, external word clock and Digidesign™ loop sync

<li> Clock output can be word clock in, recovered word clock or internal ref word clock

<li> Ultra pure high performance analog front end

<li> Very low distortion conversion: 0.0002% THD+N

<li> Low phase noise, wide lock PLL for external clock. Locks to Fs +/- 8%

<li> Extremely low jitter s-Lock™ crystal based PLL

<li> Two sets of 8 channel AES3 outputs on DB25 connector

<li> 8 channel AES3-id/IEC60958 (S/PDIF) outputs on BNC

<li> Single wire and dual wire operation (8 channels on DB25, 4 channels on BNC)

<li> Optional ADAT optical output module. Supports s/MUX for 88.2-96kHz sample rates

<li> All ADC parameters are adjustable from the m802RCU or m802 front panel

<li> All data outputs are transformer coupled
</ul>

Grace Design m802 A/D AES Converter
m802 A/D converter card for the m802 preamplifier

Grace Design m802RCU
Remote Control Unit for m802

Great River RK-1 Single Rack Kit
Rack Kit for ME-INV or EQ-1NV

Great River RK-2 Dual Rack Kit
Dual Rack Kit for ME-INV or EQ-1NV

Any mic, any pre, any time. Plug your four favorite mics and mic preamps into the <span style="font-weight: bold;">Manley MicMAID</span>,
 and pick the best combination for every session. With its convenient 
level-matching capabilities and user-programmable routing schemes, this 
is the ultimate tool for auditioning and comparing your finest 
equipment. Get ready to find the sound you're looking for faster (and 
easier) than ever. Start cleaning up YOUR workflow with a MicMAID. The 
MicMAID was designed to fill a particular niche in the business that has
 never really been addressed: auditioning and selecting microphones and 
microphone preamplifiers. Proper pairing of mics and preamps has always 
been (and always will be!) a vital step in the tracking process, but 
there has never been a simple, accurate way of doing this. Since we are 
in the business of providing tools to professional sound engineers, we 
saw this obstacle as an opportunity to flex our design muscles and 
create something that could finally fill this void.<br>
<br>
<span style="font-weight: bold;">Features</span><br>
<ul><li>Four Microphones A/B/C/D matrix to four external Microphone preamplifiers 1/2/3/4</li><li>Lock each selection combination for comparison</li><li>Front-panel 1/4" Direct Input with Variable Phase circuit and Ground Lift switch</li><li>Thru: mirrored output of the Direct Input</li><li>Low/High range select for Variable Phase all-pass filter</li><li>Remote Fader jack for manual gain riding</li><li>Polarity Switch flips phase 180degrees for selected Matrix path</li><li>Monitor Section has ±19.5 dB gain trim for each signal path</li><li>Store and Recall settings for gain, mic & pre combinations</li><li>Phantom Power selection for each microphone A/B/C/D</li><li>Direct Output provided for each mic preamp return</li><li>Pickle Remote can step through each microphone or each preamplfier for "sweet spot" selection</li><li>Variable illumination brightness user-selectable in three levels</li><li>High-quality, gold-contact sealed relays used throughout</li><li>Neutrik gold-contact XLR jacks </li></ul>
In the past, records were made in studios. Big studios, with big 
consoles, with banks and banks of microphone preamplifiers. With a 
console full of mic pre's available, it was easy to audition several 
microphones through four almost identical preamps. In today's world, 
however, most do not have this luxury. In a home studio, most people 
only own a few preamps and a few microphones. With a conventional patch 
bay, auditioning gear takes time - muting monitors, unplugging sources, 
re-patching, adjusting gain for the new microphone or preamp - and in 
this time, our memory for the sound we just had a minute ago (or more) 
has faded. We might recall a general idea ("breathy", "boomy", etc.) but
 we don't REALLY remember precisely what we were hearing.<br>
<br>
With the MicMAID, this problem is solved. Four mics are plugged in, four
 preamplifiers are plugged in, and that's it. Hear any mic through any 
pre, any way you like. For each of the four signal paths, levels are 
easily adjusted and saved - this level-matching fixes the all-too-common
 problem we encounter when we just assume the "louder" signal path is 
the "better" signal path. Subtle sonic differences between pieces of 
equipment are now instantly perceivable, with a simplicity never 
previously available.<br>
<br>
In addition to the four main outputs the routing matrix provides, there 
is a fifth output labeled MON/REC on the rear panel. Although this is 
described as a "monitor" output, this output can (and should) be used 
for recording purposes - for it is only this output that utilizes the 
active components of the MicMAID. These include the level-matching 
capabilities and the Variable Phase section of the unit. When the 
continuously variable phase circuit is selected, it allows you to easily
 phase-align the selected mic signal (or the front-panel DI signal) with
 another microphone. This phase adjustment has an all-pass filter with 
two selectable center frequencies, making it useful on a variety of 
sources.<br>
<br>
With four passive hard-wired signal paths and its versatile monitoring 
section, we'd like to think that the MicMAID can help you find the sound
 you're looking for just a little quicker than you could before. It's a 
tool of the trade, and as with all tools, you should feel free to be 
creative and think up new ways to use it that make your life easier and 
your recordings better.

Manley MicMaid
4x4 microphone/mic pre matrix-switcher

SPL GainBag
The SPL GainBag to transport GainStation 1, a microphone and cable.

<B>Sound benefits <BR></B>We think a good part of the "warmth" that is commonly associated with vintage gear comes from transformers -- and not only from tube circuits. With transformers low end and lower mids sound rounder, full-bodied with more punch. The top end gets a silky touch and benefits from improved presence without sounding boosted.<BR>Reasons are reduced odd harmonics (which produce harsh top end imressions) and a slower characteristic compared to electronic stages (which causes a more voluminous sound). We recommend transformers since we experience their sound as refinement without disadvantage in any application. <BR><BR><B>Transformers in preamps</B><BR>Used in preamps or channel strips, the input transformers add ca. 14dB (depending on the microphone) of gain. This must be added to the scaled values. The additional passive gain relieves the complete unit permanently at any gain level, thus improves signal quality.<BR>That's why the input transformer is more important in preamps, but to benefit from all possible sonic improvement and operational safety, both input and output should be equipped with transformers. If SPL preamps only offer an input transformer option, the simple reason is not enough space ... if a unit offers an transformer option for inputs and outputs, we recommend to replace all electronically balanced stages. <BR><BR><B>Operational safety <BR></B>Transformers transmit the signal by induction. This means there is no static connection (like a wire) to transmit the signal. This protects the unit from damage caused by power failures in the input/output connections. In addition, hum problems are effectively avoided if balanced connections are used throughout. Transformers are a must for units used in facilities that need highest operational safety (e.g. broadcasters). Another notable advantage for many live and recording applications is that much longer cable lengths are possible with no loss in sound quality.
<P></P>
<P><B>Prices, mounting<BR></B>Since Lundahl transformers are precious hand made components (see PDF "<A href="http://www.spl-usa.com/Lundahls/Lundahl-Design.pdf">Lundahl Design</A>") we offer them as an option to let each user decide on this investment. Transformers can be equipped also after purchase by qualified technicians. </P>

SPL Lundahl Transformer 2051
Balanced INPUT transformer for one channel

<B>Sound benefits <BR></B>We think a good part of the "warmth" that is commonly associated with vintage gear comes from transformers -- and not only from tube circuits. With transformers low end and lower mids sound rounder, full-bodied with more punch. The top end gets a silky touch and benefits from improved presence without sounding boosted.<BR>Reasons are reduced odd harmonics (which produce harsh top end impressions) and a slower characteristic compared to electronic stages (which cause a more voluminous sound). We recommend transformers since we experience their sound as refinement without disadvantage in any application. <BR><BR><B>Transformers in preamps</B><BR>Used in preamps or channel strips, the input transformers add ca. 14dB (depending on the microphone) of gain. This must be added to the scaled values. The additional passive gain relieves the complete unit permanently at any gain level, and thus improves signal quality.<BR>That's why the input transformer is more important in preamps, but to benefit from all possible sonic improvement and operational safety, both input and output should be equipped with transformers. If SPL preamps only offer an input transformer option, the simple reason is not enough space ... if a unit offers a transformer option for inputs and outputs, we recommend replacing all electronically balanced stages. <BR><BR><B>Operational safety <BR></B>Transformers transmit the signal by induction. This means there is no static connection (like a wire) to transmit the signal. This protects the unit from damage caused by power failures in the input/output connections. In addition, hum problems are effectively avoided if balanced connections are used throughout. Transformers are a must for units used in facilities that need highest operational safety (e.g. broadcasters). Another notable advantage for many live and recording applications is that much longer cable lengths are possible with no loss in sound quality.
<P></P>
<P><B>Prices, mounting<BR></B>Since Lundahl transformers are precious hand-made components (see PDF "<A href="http://www.spl-usa.com/Lundahls/Lundahl-Design.pdf">Lundahl Design</A>") we offer them as an option to let each user decide on this investment. Transformers can be equipped after purchase by qualified technicians. </P>

SPL Lundahl Transformer 2052
Balanced OUTPUT transformer for one channel

<B>Sound benefits <BR></B>We think a good part of the "warmth" that is commonly associated with vintage gear comes from transformers -- and not only from tube circuits. With transformers low end and lower mids sound rounder, full-bodied with more punch. The top end gets a silky touch and benefits from improved presence without sounding boosted.<BR>Reasons are reduced odd harmonics (which produce harsh top end impressions) and a slower characteristic compared to electronic stages (which cause a more voluminous sound). We recommend transformers since we experience their sound as refinement without disadvantage in any application. <BR><BR><B>Transformers in preamps</B><BR>Used in preamps or channel strips, the input transformers add ca. 14dB (depending on the microphone) of gain. This must be added to the scaled values. The additional passive gain relieves the complete unit permanently at any gain level, and thus improves signal quality.<BR>That's why the input transformer is more important in preamps, but to benefit from all possible sonic improvement and operational safety, both input and output should be equipped with transformers. If SPL preamps only offer an input transformer option, the simple reason is not enough space ... if a unit offers a transformer option for inputs and outputs, we recommend replacing all electronically balanced stages. <BR><BR><B>Operational safety <BR></B>Transformers transmit the signal by induction. This means there is no static connection (like a wire) to transmit the signal. This protects the unit from damage caused by power failures in the input/output connections. In addition, hum problems are effectively avoided if balanced connections are used throughout. Transformers are a must for units used in facilities that need highest operational safety (e.g. broadcasters). Another notable advantage for many live and recording applications is that much longer cable lengths are possible with no loss in sound quality.
<P></P>
<P><B>Prices, mounting<BR></B>Since Lundahl transformers are precious hand-made components (see PDF "<A href="http://www.spl-usa.com/Lundahls/Lundahl-Design.pdf">Lundahl Design</A>") we offer them as an option to let each user decide on this investment. Transformers can be equipped after purchase by qualified technicians. </P>

SPL Lundahl Transformer 2161
Mic preamp transformer for one channel, +14dB gain

Results 1-20 of 22

1




API Audio Neve Barefoot Sound Shadow Hills Industries Retro Instruments Waves Audio Coles Microphones Endless Analog Clasp		Read what people are saying about Vintage King Audio Sales & Service from around the world. Read them here!		How about recycling your used gear for something different or just a change? When speaking to a sales representative, make sure to indicate that you are interested in trading your gear for a new purchase or please send an email to info@vintageking.com.

SALES		CUSTOMER SERVICE
888.653.1184 ext 3 +1.248.591.9276 ext 3 Sales Hours: M-F 10 to 8 (ET) Sat 12 to 4 (ET) Sun Closed More Information		888.653.1184 ext 2 +1.248.591.9276 ext 2 Customer Service Hours M-F 10 to 6 (ET) Sat Closed Sun Closed More Information

WHY SHOP KING?

Privacy and Security

Satisfaction Guaranteed

Warranty Information

Shipping and Delivery

Lifetime Customer Support

RESOURCES

Frequently Asked Questions

Terms and Conditions

Infrasonic Sound

Article Archives

Tax Exempt Forms

NEWS ROOM

ENTER EMAIL FOR
SPECIAL OFFERS

OUR NETWORKS

CATEGORIES

QUICK LINKS

Producers Corner

Trade Your Gear

Pensado's Place

Facebook Giveaways

OUR NETWORKS