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Tube Mic Pre / EQs

The AD2055 combines 100% discrete, pure class A signal amplifiers with state-of- the-art passive and active filter topologies. The AD2055's unique circuitry delivers very high resolution transient detail at the operational extremes of real world equalization demands. The AD2055 auto-bias DC servo loop control eliminates the need for all interstage capacitor coupling. The AD2055 breathes life into all musical performances! SONIC EXCELLENCE The Avalon AD2055 Pure Class A music equalizer is the most powerful, low noise parametric equalizer available today. Designed to optimize absolute signal integrity and musical performance, the AD2055 combines the best of active and passive filter topologies with sonic excellence unequaled by lesser designs. The AD2055 is the perfect solution for two buss music-program equalization, special instrument EQ and FX applications and ultra high performance mastering studio's. Features include state-of-the-art, balanced 100% discrete, Pure Class A signal amplifiers, practical user features and rugged hardware designed to deliver true high performance audio for many years. PASSIVE-ACTIVE FILTER DESIGN Avalon equalizers feature the unique combination of both active and passive filter EQ designs. This special combination enables the AD2055 to deliver high speed transient detail at the operational extremes of real-world equalization demands. The passive high and low bands offer alternate musical tone range to the full function active parametric mid bands. Passive equalizers have long been a favorite with music lovers around the world. Full bodied, powerful (up to +/-32dB, 64dB range !) and sweet frequency selections are the benefits of the passive high-low EQ bands. The full bandwidth twin mid bands provide variable frequency selection (X10 frequency multipliers for very wide range), variable Q (width) and amplitude control. MINIMUM SIGNAL PATH DESIGN Avalon's advanced true symmetry design offers high-voltage, large headroom, extended bandwidth and very low noise. The use of 100% discrete, Pure Class A signal amplifiers give the serious music professional unlimited sonic character and a natural harmonic detail that enhances the program material and becomes one with the music itself. The Avalon AD2055 breathes life!

Avalon AD2055
Dual channel pure Class A parametric EQ

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The Daking Products 52270C Mic Pre/EQ is a mono mic preamp with all discrete transistor circuitry transformer balanced inputs and outputs Class "A" amplifiers. 5 Stepped frequencies per band. Continuously variable boost and cut. All relay switching with gold bi-furcated contacts Switchable Phantom power 20db pad on mic input. Steel construction for strength and noise immunity. 
<UL>
<LI>Transformer balanced inputs and output 
<LI>All discrete transistor circuitry 
<LI>Class "A" amplifiers 
<LI>Four Band EQ with hard bypass 
<LI>Continuously variable boost and cut: +-16dB 
 Stepped frequencies: 
<UL>
<LI>High Shelving 8-10-12-15k-20k 
<LI>Upper Mids 1.5-3-5-7-9K 
<LI>Lower Mids 125-hZ-250hZ-500hZ-1K-2K 
<LI>Low Shelving 30-50-80-100-150hZ</LI></UL>
<LI>High & Low Pass Filters 25hZ & 15KhZ </LI></UL>
<UL>
<LI>All relay switching w/gold bi-furcated contacts 
<LI>Switched +48v Phantom power 
<LI>Remoteable Mute and Bypass 
<LI>20dB pad on mic input 
<LI>Stainless steel construction for noise immunity 
<LI>Aluminum knobs 
<LI>Output level control before last stage of gain</LI></UL>The supplied universal power supply can operate at any voltage for use worldwide.

Daking Mic Pre/EQ
Single-channel mic pre with four-band EQ

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It has long been recognized that vacuum tubes impart a unique 'warmth' and 'musicality' to an audio signal, but many of the 'classic' tube equalizer fall short of the technical performance demanded in today's digital recording age.Designed to complement the widely acclaimed Drawmer 1960 Mic Pre-Amp Vacuum Tube Compressor, the 1961 Vacuum Tube Equalizer combines low noise circuitry with no fewer than twelve active tube stages to provide two channels of exceptional equalization possessing unique 'personality'. Rather than employ a continuously variable resistor as a means of frequency control, the 1961 utilizes the same rotary 'step' switching system used in vintage designs . This enables the component values for each frequency band to be optimized for uncompromising performance across the entire audio spectrum and also makes setting up more accurate, particularly when treating stereo signals.The design of the 1961 allows the user to control the amount of 'warmth' by deciding how hard to drive the tubes giving a sound as 'clean' as the best discrete solid state designs or as 'hot' as the 'hottest' classic tube designs. The 1961 and 1960 can be 'interlinked' to provide, in effect, a two channel vacuum tube mixing console, - the perfect mastering or post audio 'sweetening' tool.Facilities available on the 1961 include<li>A variable input level of -20dB to +20dB ensures compatibility with a wide range of input source material and enables the user to optimize signal level and drive the tubes 'soft' or 'hot' as required. LED bargraph displays give a clear indication of the input signal level.</li><li>High Pass Filter A variable 12dB/Octave roll-off filter adjustable from - 20Hz to 500Hz section enables the user to remove unwanted low frequencies and sub-sonic noise.</li><li>Each channel of the 1961 has four main equalizer sections with six carefully chosen overlapping frequencies and a separate tube stage for increased harmonic clarity.</li><li> Each section also includes variable band width from 0.3 Octave to 3 Octaves and +18dB of Cut and Boost.BASS frequencies (Hz) 20, 32, 50, 80, 125, 200 LO-MID frequencies (Hz) 100,180, 250, 400, 650,1K HI-MID frequencies (kHz) 0.5, 0.8,1.2, 2.0, 3.2, 5.0 TREBLE frequencies (kHz) 2.5, 4, 6,10,15, 25</li><li>A variable 12dB/Octave roll-off filter adjustable from 2.5kHz to 42kHz enables the user to remove high frequency interference or to band limit excessively high levels of high frequencies.</li><li>Two additional tube stages in the output section of each channel allow the user to achieve 'soft clipping' by adjusting the input level control whilst visually monitoring the effect upon the 'Soft' and 'O/L' (Overload) LED's.</li>

Drawmer 1961
Two-channel tube parametric EQ

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GML 2032
Mic preamplifier and parametric equalizer

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Great River MEQ-1NV
Single channel EQ / Pre

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Very occasionally, a design is so correct from the very start that it needs little or no development over many years.   Klark Teknik DN360 has been in continuous production for seventeen years with only one minor design revision, and is still the most popular analogue graphic equaliser on the planet. With over 30,000 units shipped worldwide to date, DN360 has achieved ubiquity in pro-audio circles. So why is it so enduringly popular?   Like all KT units it is well designed and engineered to very high standards so will handle continuous road use with only minimal service. They are also very consistent, so engineers using units sourced locally all over the world will get the same response every time. But perhaps most important of all is the way they sound – it’s notoriously difficult to describe sound, but talk to anyone that prefers DN360s to any other graphic and they will use words like ‘musical’ ‘smooth’ ‘responsive’ and ‘great sounding’. Primarily this is because we use proportional-Q filtering, where the ‘Q’ value of the frequency increases as the cut or boost increases. This provides a flowing response at low cut / boost values, but also accurate frequency control at higher values.

Klark Teknik DN360
Dual-channel, third-octave graphic equalizer

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LaChapell Audio 583e
Single channel vacuum tube preamp with integrated or independent 3-band EQ for 500 Series frames

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LaChapell Audio 583e (Demo Deal)
Single channel vacuum tube preamp with integrated or independent 3-band EQ for 500 Series frames

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Manley Voxbox MIC PREAMP SECTION: The preamplifier is a clone of a highly regarded and popular mic pre: the Manley Mono Microphone Preamplifier! The mic input transformer is our own design wound in-house at the Manley Labs factory. High current 48V Phantom power is switchable from the front panel. A simple and effective passive BASSCUT switch kills rumble and reduces popping. The INPUT ATTENUATOR is a variable pad control situated before the first tube stage allowing the preamplifier to accommodate +4 line level signals via the balanced LINE INPUT and instruments via the front panel 1/4" DIRECT INPUT. These inputs are selected in the middle position of the dual-function phase invert switch. We provide both transformer balanced XLR output as well as a transformerless "audiophile" 1/4" phone jack output. The Gain switch is actually a clever variable feedback control that changes not only the gain but the slew rate and flavour of the circuit. With it you can choose how laid back and mellow or how up-front and aggressive you want it to ge t. See "<a href="http://www.manley.com/negative_feedback.php" target="blank">Notes on Variable Feedback</a>" for more info. Headroom is a strong point in this circuit, +31dBu capable. This is 5 to 10 dB better than almost all other pro gear. The music passes through only our super-clean pure Class A vacuum tube circuitry. There are obvious advantages to our purist approach and foremost is the un-electronic final sound that carries emotion into the digital realm. 
COMPRESSOR SECTION: This cool compressor design is the result of blending the control ideas in our best selling Variable MU® Compressor Limiter with the opto-isolator approach of the Manley ELOP Limiter. We figured out how to compress the signal before it hit the tubes with no detrimental effect on distortion or frequency response. This way, it can prevent mic-pre clipping and eliminate whole stages of electronics. This cuts the typical path of mic to tape in half! We also pioneered new thinking in the sidechain. Rather than compromise, we developed a technique of using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls. We call the approach "Parametric Compression". We developed optimum settings or presets based on the Light Dependent Resistors of our own fast ELOP Limiter, the quick LA-2A, the slower LA-3A and then created more complex special settings. This extended range and method of timing delivers fresh sounds from powerhouse punching drums to super-solid bass yet can also emulate the way good engineers delicately ride a fader while recording. It is transparent and liquid-smooth on vocals, easy to use and accurate. Also rare for an opto-based dynamic processor, this compressor works great on mixes. Of course, you’ll be needing two VOXBOXes linked in stereo... 
EQ SECTION: Lots of folks requested that we include the Pultec Mid Frequency Equalizer in the VOXBOX®, but they wanted MORE.... Now we’ve extended it to 33 frequencies in 3 bands with 6 new frequencies from 20 Hz to 150 Hz, and 6 more in the highs from 6.4 KHz to 20 KHz. Ever notice that only EQs with real inductors have the bottom end magic or that only Class A circuitry can keep the top end sweet? This is for you. The EQ INPUT switch patches in the Line Input, Preamp Output, or the INSERT return. This switch serves double-duty acting as a bypass switch for the preamp and/or external processors or for processing two different tracks. 
DE-ESSER & LIMITER SECTION: Designed by folks with admittedly large gaps between their two front teeth, (Hutch and EveAnna) the VOXBOX® combo also includes a de-esser & peak limiter based on our original ELOP Limiter design but with an added passive LC network to handle the de-essing– four carefully chosen notch frequencies from 3KHz to 12KHz. (That 3KHz setting really tames those annoying frequencies!) The fifth position gives you a limiter which totally mimics the famous LA-2A.

Manley Voxbox
Manley's Channel strip

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The microphone amplifier is arguably the most important part of the audio chain, yet it is here that solid state technology is weakest in most mixing desks. 

The Thermionic Culture Earlybird 2.2 has been developed to be simply the best mic amp you can buy. Because of the special balanced push pull double triode circuit, it is virtually silent and distortion free, and has a very open, clean yet warm sound. The extended frequency response and lack of phase shift make it ideal for classical or rock recording.
The Earlybird 2 has a simple yet very effective eq for top, mid and bass in the feedback circuit (switchable). The high pass filter has been designed so that it works conventionally at lower settings, but on the 2 highest settings is gentler, and provides a mid cut when used in conjunction with the active bass lift.
The Earlybird 2.2 does not have to sit idly by on a mix! A separate line in socket is provided so that it becomes a valve eq and can produce a wonderfully warm distortion if required. The Output Trim control is placed after the electronics (as on The Phoenix ) and if turned back to a low setting, The Earlybird 2 can be overdriven by increasing the Gain setting.

Some Cultured users...
 
Because of their unique blend of flexibility, musicality, and usability, brought about as a result of being hand-built by some of the worlds leading pro audio valve equipment designers and engineeers, Thermionic Culture products attract their fair share of high profile, industry leading producers and engineers from the world of recording technology. Here is just a handful - why not add your name to the list?
<ul>
<li>Tony Maserati - Culture Vulture

</li><li>Black Dog Productions - Earlybird 2.2, Pullet, Phoenix Mastering Compressor, Culture Vulture.

</li><li>Al Schmitt - Phoenix

</li><li>Big Life Music - Phoenix Master Compressor

</li><li>Steve Dub Jones - Earlybird 2

</li><li>The Dairy - Phoenix

</li><li>Al Stone - Culture Vulture

</li><li>ROBERT CARRANZA - PRODUCER FOR LOS LOBOS, SUPER GRASS, JACK JOHNSON - CULTURE VULTURE

</li><li>PABLO MUNGUIA - ROBBIE WILLIAMS - PHOENIX & CULTURE VULTURE

</li><li>STEPHEN STREET - KAISER CHIEFS - CULTURE VULTURE

</li><li>JAMES FORD - PRODUCER - ARTIC MONKEYS - CULTURE VULTURE

</li><li>GROOVE ARMADA - EARLYBIRD & CULTURE VULTURE MASTERING - " Both myself and Tom Findlay bought the Earlybird and the Culture Vulture Mastering, they're like your first mobile phone, once you've used them for a week you wondered how you ever liver without them!" Andy Cato - Groove Armada.

</li><li>Larry Hammel - Producer, Deepwave Music Productions, Earlybird 2.2 and Phoenix

</li><li>Peter Katis

</li><li>Chemical Brothers - Culture Vulture Mastering MV & Phoenix 
"The vulture it distorts synths in a truly beautiful way-we used to acheive this effect thru a long,convoluted process now we can get this great sound at a flick of a switch!" - Tom Rowlands

</li><li>Peter Gabriel - Real World Studios - Culture Vulture

</li><li>Alan Moulder -Producer/Engineer The Jesus & Mary Chain, Swervedriver, My Bloody Valentine,Depeche Mode, Nine Inch Nails Downward Spiral, U2's Pop.

</li><li>Mike Caffrey

</li><li>Steve 'Dub' Jones - Engineer/Producer - Chemical Brothers, Madness. Culture Vulture Mastering MV & Phoenix

</li><li>Tom Findlay - Groove Armada - Earlybird-2, Phoenix

</li><li>Pietro Taucher - Engineer for Sharrie Williams

</li><li>Paisley Park

</li><li>Tie Dye Keith

</li><li>Jerry Harrison and Eric Thorngren (Talking Heads)

</li><li>Peter Katis

</li><li>Jimmy Boyle

</li><li>Kevin Bacon ( Axis Studios, recent credits include Jaimeson )

</li><li>Angel Mountain Studios

</li><li>Overtones

</li><li>Andy Strange ( recent credits include Robbie Williams )

</li><li>David Ives

</li><li>Bernard Butler

</li><li>Tony Hoffer ( Beck , Turin Breaks )

</li><li>Edwyn Collins

</li><li>Mick Jones

</li><li>The Libertines

</li><li>Mark 'Spike¹ Stent ( U2, Madonna, Oasis )

</li><li>Portishead

</li><li>Ken Nelson ( Badly Drawn Boy, Coldplay )

</li><li>Dave Gilmour

</li><li>The Prodigy

</li><li>Hugh Jones

</li><li>Strong Room Studios

</li><li>Air Studios

</li><li>Mute Records

</li><li>Ross Hogarth - "Mondo distorto! dude, i like your box a lot...really liked the musicality of it!"

</li><li>San Francisco Soundworks

</li><li>“La Source” Mastering suite - Paris France

</li><li>Yves Jaget

</li><li>Bertrand Blais producer of Etienne Daho

</li><li>Wisseloord Mastering</li></ul>

Thermionic Culture Earlybird 2.2
Vacuum tube two-channel mic pre/EQ

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Thermionic Culture Earlybird 4
Four Channel Microphone Preamplifier

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The Thermionic Culture Rooster is a valve based design mic/line & DI pre-amp with
EQ and a distortion section based around the same 5725 valve used in
the ever-popular Culture Vulture. 
 Input Stage 
 The input stage uses a custom 1200-ohm input Sowter transformer and an ECC81/12AT7 valve. 
 EQ Section 
The neatly laid out EQ section has all the Boost or Lift controls on
the left, with a broad bass lift control, peaking at 60Hz, and a
selectable mid/high lift at 2.5k, 4k ("bell" shaped) and 7k (shelving)
respectively. All the Cut controls are on the left hand side, the mid
cut is 700Hz, the 6 position bass cut is straight off the Earlybird 2
pre-amp. There is also a switchable LPF ( low pass filter ). 
 'Attitude' Distortion Section 
The same 5725-distortion tube which is employed in the Culture Vulture
is used in the new Rooster. It offers a subtle distortion
characteristic in the triode position, more so than a Culture Vulture
due to the higher HT voltage, and so has a very low (about 0.01%)
distortion when the 'Attitude' control is set to 1. In the pentode mode
it generates more 3rd harmonic distortion. Distortion can be pretty
radical when the Attitude control is to 'Max' and the input is high. 
 Output Section 
The output valve is ECF80 which combines high output with low impedance
(less than 100 ohms). There is +48v phantom power, and phase reverse.
The output is unbalanced as standard but a balancing transformer option
that is used in the Culture Vulture Mastering will be available.

Thermionic Culture Rooster
Dual Mono Mic/Line/DI Preamp with balanced output

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Ware proud to introduce our latest technological achievement: the Tube-Tech MMC 1A - A full-blown microphone preamplifier & multiband compressor with outstanding sonic properties. 
Product Description 
The MMC 1A is our latest recording channel – encompassing a complete front-end it includes an additional Direct Instrument input as well as a separate line input. The microphone input has switchable loading impedance, phantom power, phase reversal and a –20 dB Pad. All inputs are equipped with a low-cut filter. The 3-band optical compressor is designed to maintain optimum summing of all three bands with a remarkably flat frequency response. A bypass switch shorts out the whole compressor. 
Mic. Input/Output are balanced and have fully floating transformers with a static screen. The Line Input is unbalanced, but an optional transformer is available. 
The power supply and the sidechain circuits are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilised.

Tube-Tech MMC1A
Microphone Preamp and Multiband Compressor

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The LA-610 defined the affordable, ultimate vintage tone channel strip. So how can UA improve on tonal perfection and what was already a hit product?
 
Enter the sequel... Universal Audio LA-610 Mk II, a second-generation revamp of the original 2005 LA-610 design. While the preamp and compressor are identical to the original LA-610 that users have come to know and love, user-requested features such as true compressor bypass, larger metering, improved output signal, an auto-sensing power supply have been added bringing the end user an enhanced user experience. The LA-610 Mk II also features the highly popular “black on black” cosmetics of the LA-610 Signature Edition.
 
The LA-610 Mk II packs tremendous sonic versatility and is an ideal front-end for tracking with modern DAW’s and the serious project studio looking to get the UA sonic experience: Real quality and character at an accessible price. The LA-610 Mk II is based on the legendary console modules developed by Bill Putnam in the 60's. Noted for their musical character and warmth, countless classics from Sinatra to Van Halen have been recorded using these preamps. After the preamp section, the LA-610 Mk II offers the T4 optical compressor. The simple operation and program dependent nature of the LA-610 T4 compressor provides the same extremely musical control that has made the LA-2A such a well-loved classic for over 40 years. The electro-optical detector or "T4 cell” is the very heart and soul of the Teletronix LA-2A. The unique combination of electroluminescent panel and photo-resistors inside the T4 cell are the crucial circuit components that give both compressors their signature sound. 
 
Features
<ul>
<li>Based on Legendary Bill Putnam 610 Tube Mic Pre and EQ Used on Countless Classic Recordings
</li><li>Authentic Teletronix LA-2A-style T4 Opto-Compressor
</li><li>Complete vintage channel-strip at groundbreaking price within project studio reach
</li><li>Mic Pre with Gain and Level controls, variable impedance switching, and Instrument DI for recording tone “color”
</li><li>Mk II Features such as True Bypass, Larger Metering and Improved Signal Output
</li><li>UA build quality and heritage, audiophile components, hand-assembled in the USA
</li></ul>
MK II Improvements
<ul>
<li>True Bypass of the Compressor Circuit
</li><li>Larger and Better Lit Metering
</li><li>Improved Output Signal Performance
</li><li>Auto-Sensing Universal Power Supply
</li><li>Improved stability with feedback-style shelving EQ
</li><li>Improved consistency with Input Gain values
</li><li>LED Jewel Light Never Needs Replacing
</li></ul>
General
<ul>
<li>Mic, Line and Hi-Z Input, Line Output
</li><li>Dual Impedance Mic and Hi-Z inputs (Mic: 2K, 500Ω, Hi-Z: 2.2M, 47KΩ)
</li><li>5 position Stepped Preamp Input Gain, Continuous Preamp Output Level
</li><li>-15dB Pad Switch (15dB Pad/Off)
</li><li>Phase reverse (0/180º)
</li><li>48 volt Phantom Power switch (+48v/Off) 
</li><li>+/- 9 dB stepped High Shelving Filter (4.5, 7, 10 kHz)
</li><li>+/- 9 dB stepped Low Shelving Filter (70, 100, 200 Hz)
</li><li>T4 Optical Compressor with Continuous Peak Reduction and Makeup Gain
</li><li>Compress/Limit/Bypass Modes of Dynamic Operation (3:1 / ∞: 1)
</li><li>Meter Source Selector Switch (Preamp/Gain Reduction/Compressor) 
</li><li>Front Panel Power switch (On/Off) 
</li><li>Custom Altran and Cinemag Transformers
</li></ul>

Universal Audio LA-610 Mk II
Classic Tube Recording Channel

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