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Equalizers

A Designs Audio EM-EQ2
Dual-channel equalizer

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A Designs Audio EM-EQ2 (Demo Deal)
Dual-channel equalizer

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

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

<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>

<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>
 
<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>
 
<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_MaleVox.mov" target="blank">Recording Male Vocals with A Designs Pacifica</a>
 
<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_FemaleVox.mov" target="blank">Recording Female Vocals with A Designs Hammer</a>
 
<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/Dylan_JCM800.mov" target="blank">Recording Electric Guitar with A Designs Hammer</a>

A Designs Audio HM2EQ Hammer
Dual-mono three-band tube EQ

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

API 215L
Discrete high and low-pass sweep filters in the compact API 200 Series format

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The lineage of the API 5500 circuit can be traced back to the original 550 equalizer designed by Saul Walker, the founder of Automated Processes Inc. The 550 was designed as a console equalizer which, due to the architecture of the recording console, uses an unbalanced input. Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited. The 5500 is specifically designed to address these limitations. It has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting, and a range control that expands it versatility to mastering applications. Features: <ul><li>Classic 550B Equalizer Design</li><li>2 Range Switches Individually Alter Gain Steps</li><li>Useable as a 550B, 550D or 550M</li><li>Peak/Shelf Switch on HI & Lo bands</li><li>True Hardwire Bypass</li><li>Balanced IN and OUT on XLR</li><li>Unbalanced Input on 1/4"</li><li>EQ In/Out Switch</li></ul> Like all API products, the 5500 contains no integrated circuits in its signal path. The gain comes from two hand-built 2520 operational amplifiers in each channel. The balanced input is handled by a 2510 discrete operational amplifier, which is similar to the 2520, but without the high current output stage. Besides being a key component of the API sound, the 2520 coupled with the API 2503 output transformer is capable of delivering +30dBm before clipping. With this much headroom, it is unlikely that the 5500 can be driven to distortion unless perhaps another API unit is driving the input! A new feature in the 5500 is the range control. The range of the amplitude controls can be reduced to 1/2 or 1/4 of their stated scale, providing a means of adjusting the tonal balance with finer resolution in an even gentler manner. This should be especially useful for complex program material as contained in stems or submixes, and is ideally suited for mastering purposes. Also new on the 5500 is a true hard-wire bypass. In this mode the output connector is wired directly to the input. Shortly after the power is first applied, or immediately after it is lost, a special circuit enables bypass mode so signal is never lost and power thumps are never heard. The input XLR is connected to an active balanced circuit. The output XLR is driven from a transformer coupled output and can drive any load from 600 ohms or greater to full output capability. The polarity is such that there is no change from input to output, so it is suitable in studios using either pin 2 or pin 3 as the "hot" connection. In addition, there is a 1/4 inch input connector that interrupts any signal that is present on the input XLR. It is balanced and can be driven from either balanced or unbalanced sources. A positive signal on the tip will deliver a positive signal on pin 2 of the output XLR. Using the 1/4 inch input does not bypass any internal circuitry and does not change gain or operating level.2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.

API 5500 Dual Equalizer
Dual 550 EQs with selectable boost/cut steps

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Few equalizers enjoy the respect and admiration of the coveted API 550A.
 Designed by the now-legendary Saul Walker in the late '60s, the 
discrete 550A was first used as a modular OEM equalizer. As the industry
 rapidly embraced the sonic quality of the 550A, it quickly found its 
way into many custom console designs by Frank DeMedio and other leading 
engineers. Many of these consoles are still in use today. 
 
Forty years later, the 550A remains the standard against which other EQs
 are measured, and it has played a major role in the recording industry 
for decades. Still copied but never duplicated, the 550A became API's 
standard channel module EQ when the company began manufacturing consoles
 in 1971. With virtually all existing units spoken for, popular demand 
for this EQ resulted in API finally resuming production in 2004. 
 
The 550A provides reciprocal equalization at 21 points in 7 steps of 
boost to a maximum of 12dB of gain at each point. The fifteen 
equalization points are divided into three overlapping ranges. The high 
and low frequency ranges are individually selectable as either peaking 
or shelving, and a band-pass filter may be inserted independently of all
 other selected equalization settings. Frequency ranges and boost/cut 
are selected by three dual-concentric switches, and a pushbutton "in" 
switch allows the EQ to be silently introduced to the signal path. A 
small toggle switch is used to insert the band-pass filter into the 
550A. 
 
The combination of Walker's incomparable 2520 op amp and his 
"Proportional Q" circuitry gives the 550A user an uncomplicated way to 
generate acoustically superior equalization. 
 
With the long-awaited reissue of this unit, an EQ that has had such a 
part in the history of recording is continuing to make history in 
today's music. 
 
Features 
<ul><li>3 bands of classic API equalization</li><li>Each band offers 7 API selected frequency centers</li><li>Reciprocal and repeatable filtering</li><li>Maximum 12 dB of boost/cut per band</li><li>EQ Band 1 and 3 offer shelf/peak switching</li><li>"Proportional Q" narrows filter Q at extremes</li><li>Traditional API fully discrete circuit design</li><li>High headroom +30 dB clip level </li></ul>
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 550A
Discrete, classic three-band EQ

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Few equalizers enjoy the respect and admiration of the coveted API 550A.
Designed by the now legendary Saul Walker, an adjunct instructor in music technology, the 550A has been used in recording studios throughout the world, among them the Record Plant and Sunset Sound, and by such musical greats as Jimmy Page, Phil Ramone, the Doobie Brothers, Stevie Wonder, Leon Russell, Frank Zappa, Marvin Gaye, Herbie Hancock, and Bob Dylan. In 2008 the API 550A was inducted into the Technology Hall of Fame at the annual Audio Engineering Society (AES) Convention held in San Francisco. Walker, a fellow of AES, designed the equalizer in 1968, and the
discrete 550A was first used as a modular OEM equalizer. As the
industry rapidly embraced the sonic quality of the 550A, it quickly
found its way into many custom console designs by Frank DeMedio and
other leading engineers. Many of these consoles are still in use today.
 Forty years later, the 550A remains the standard against which
other EQs are measured, and it has played a major role in the recording
industry for decades. Still copied but never duplicated, the 550A
became API's standard channel module EQ when the company began
manufacturing consoles in 1971. With virtually all existing units
spoken for, popular demand for this EQ resulted in API finally resuming
production in 2004.  What accounts for its popularity and longevity?  "The 550A design provides a fast, repeatable, and virtually foolproof mechanism to enhance or accentuate specific segments of the audio spectrum or to de-emphasize other tonalities while maintaining the essential integrity of the program material," Walker says. He notes that though newer technology provides greater flexibility at lower cost, permitting more drastic alteration of the sound spectrum, many artists just prefer the sound of the original 550A. Users of Walker's equalizer are fond of its acoustic properties – the 'sweet tonal change' coursing through the mix and its settings that allow for 'more bite or body' in the basses. "An equalizer is, in a way, a musical instrument," Walker says. The 550A provides reciprocal equalization
at 15 points in 5 steps of boost to a maximum of 12dB of gain at each
point. The fifteen equalization points are divided into three
overlapping ranges. The high and low frequency ranges are individually
selectable as either peaking or shelving, and a band-pass filter may be
inserted independently of all other selected equalization settings.
Frequency ranges and boost/cut are selected by three dual-concentric
switches and a push-button "in" switch allows the EQ to be silently
inserted into the signal path. A small toggle switch is used to engage
the band-pass filter. The combination of Walker's incomparable
2520 op-amp, and his "Proportional Q" circuitry gives the 550A user an
uncomplicated way to generate acoustically superior equalization. This long-awaited, limited edition reissue is a continuation of the equalizers produced by API exactly as they were in the 1960's, featuring hand-wired switches, the original circuit board design and API founder Saul Walker's signature on the chassis. an EQ that has had such a part
in the history of recording is continuing to make history in today's
music. Features 
<ul><li>3 bands of classic API equalization 
</li><li>Each band offers 5 API selected frequency centers 
</li><li>Reciprocal and repeatable filtering 
</li><li>Maximum 12 dB of boost/cut per band 
</li><li>EQ bands 1 and 3 offer shelf/peak switching 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Traditional API fully discrete circuit design 
</li><li>High headroom: +30 dB clip level </li></ul>
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 550A SW - Saul Walker Edition
Discrete, classic three-band EQ

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

API 550B
Discrete four-band EQ

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The API 560 was originally conceived for use in API consoles of the 60's and 70's.  The API 560 re-issue is a unique device designed to accomplish tasks that no other EQ can do. It delivers that "one-of-a-kind" API sound, precision easy-set filtering and high headroom in a very small package. Extremely fast to set and reset using accurate zero detents, the curve-shaping potential of the 560 is unmatched. At home both in field recording and the studio environment, this "new-old" version is a re-issue of the original 560 with improved resolution in the critical area of ±4 dB. Incorporating API's exclusive circuitry and proprietary components (such as the legendary 2520 op-amp), the re-issue of the 560 artfully blends the past with present—layout with function. 

The API 560 was created to fit all applications for the professional engineer. For most of the 70's and 80's, every remote recording console that API manufactured used this versatile graphic EQ. It is also ideal for studio and live sound applications, where a professional result is required. This re-issue design has been taken from the original blueprints and spec control drawings from the API archives.
The large number of available EQ bands makes the 560 an ideal companion to parametric EQ, as well as ideal for signal sweetening and room tuning. Not lacking in features, the 560 makes use of API's unique "Proportional Q" design introduced by API in the 60's, intuitively widening the filter bandwidth at lower boost/cut levels and narrowing it at higher settings. In addition, boost and cut characteristics are identical, so previous actions can be undone.
The extraordinary headroom made possible with API's proprietary 2520 op-amp offers predictable and wonderful "analog" performance under duress. With a wider range of 500-series mounting options, the 560 will be a valuable asset to your performance-critical applications.
The 560 Graphic Equalizer makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.
Features 
<ul>
<li>10 bands of API proprietary equalization 
</li><li>Familiar graphics operation on one-octave centers 
</li><li>12 dB of boost/cut per band 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Additional resolution within the ±4 region 
</li><li>Center detent for reliable reset 
</li><li>Traditional API fully discrete circuit design 
</li><li>Silent bypass switch 
</li><li>Re-issue of the 1969 API 560 EQ</li></ul>
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 560
Classic 10-band graphic EQ

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It wouldn’t be a stretch to call Alesis “The Graphic EQ Company.” Our Alesis MEQ230 is a standard in sound installations and studios, and the DEQ series now carries the torch with a groundbreaking approach to digital graphic EQs — for every application and budget — that’s taking engineers by storm. The DEQ830 is the world’s most affordable 8-channel 1/3-octave digital graphic EQ. Though it fits in a compact one-space rack, we didn’t skimp on connections or features. Sonic performance is superb, with 1/4" TRS balanced and ADAT Optical I/O. Change any of 30 bands on eight discrete channels with the press of a button. Get instant, slider-style visual feedback rather than squinting at a tiny LCD. And store your changes in 100 user programs, with 50 curve templates to get you started in any room. From tweaking project studio acoustics to tuning a concert hall to balancing a mix, Alesis graphic EQs give you more features and better audio performance than any units in their price range. Music by you. Graphic design by Alesis. Features <ul><li>8 independent 1/3-octave digital graphic equalizers</li><li>Enhanced 24-bit sound quality, 28-bit internal processing</li><li>8 channels of balanced 1/4" (+4/–10 switchable) inputs and outputs, 8 channels of ADAT Optical in and out, MIDI in and out</li><li>At-a-glance display lets you quickly check settings for each band and channel. Locking feature prevents unwanted changes</li><li>100 user programs, 50 curve templates for rapid setup</li><li>Independent 10-segment level LEDs for each channel</li><li>Bypass, compare, and channel A-B link controls</li><li>1U rackmount with internal power supply</li></ul>

Alesis DEQ-830
Eight independent 1/3-octave digital graphic EQs packed into one rack unit

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The Buzz Audio DPE-20 replaces the discontinued MPE-1.1  mono parametric equalizer with improved all Class A circuitry and extra features. The four EQ bands plus the high and low pass filters offer you extreme flexibility for tracking and mixing operations. The high and low shelving bands each have four selectable turnover frequencies with the low shelf generated by a real choke (inductor). The low and high bell bands offer continuous control of frequency and bandwidth allowing you to pin point and control any frequency in the audio band without the restriction of fixed frequencies. Individual in/out switches allow you to easily compare the flat or equalized material. The gain switch allows you to pad the input 10dB for those sometimes high level signals from DAW's or add 6dB boost for low level input. Features 
<ul><li>The vivid sound of discrete Class A amplifiers in the signal 
path</li><li>The lush tone of Lundahl* audio output transformers</li><li>Culmination
 of 20 years design experience</li><li>Robust chassis construction</li><li>On
 board linear power supplies - no wall warts!</li><li>Easy to use 
control layouts</li></ul>

Buzz Audio DPE-20
Dual parametric equalizer

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

Features
<ul>

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

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

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

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

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

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

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

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

Buzz Audio REQ-2.2 - Mastering
True Class A resonance EQ - mastering version with Palazzo switches

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

Features
<ul>

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

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

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

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

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

Buzz Audio REQ-2.2 - Standard
True Class A resonance EQ - standard version with Alps pots

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Features
<ul>

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

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

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

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

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

Buzz Audio REQ-2.2 ME - Mastering
True Class A resonance EQ - mastering version with Elma switches - built to order

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

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

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Chandler Germanium Tone Control EQ
Versatile solid state EQ with both active and passive sections

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Crane Song IBIS
4 band discrete Class A stereo equalizer

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Crane Song IBIS Mastering EQ
Four-band mastering EQ

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

D.W. Fearn VT-4 Tube LC Equalizer
Single-channel vacuum tube EQ

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

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

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