Miscellaneous Signal Processing & Effects | VintageKing.com

Miscellaneous Signal Processing & Effects

Why just rock the house when you can rattle the foundation loose. The wildly popular beat of "House Music" is likely to be driven by the throbbing, low-end bass of dbx® Subharmonic Synthesizers in clubs around the world. For decades, the patented dbx Subharmonic Synthesis has been the secret weapon used by mobile DJ's and film and sound professionals to produce an impact unavailable from any other device unique because the dbx process actually produces a new, Waveform Modeled bass note, exactly an octave below the bass in the original audio. The <span style="font-weight: bold;">dbx 120A Subharmonic Synthesizer</span> with Modeled Waveform Synthesisô has been specially optimized by dbx engineers for the needs of audio professionals. Its two separate bands of bass synthesis provide the best combination of smoothness and control, and the independent Low Frequency Boost circuit is designed to get the most out of high-performance low frequency speaker systems.<br><br>Flexible system interfacing is achieved by providing both 1/4î and RCA input connectors, along with main outputs which can be full range (including synthesis) or high frequency only, along with a separate subwoofer output with its own level control.<br><br>The 120A's patented subharmonic synthesis process actually builds the synthesized waveform using the waveshape of the original bass material. Unlike other attempts at bass synthesis, the dbx process produces smooth, musical low frequencies that don't interfere with mid and high-band information, even when maximum synthesis and boost are applied. The result is a low-end punch that people really feel, even at system levels that won't destroy sound equipment or damage hearing.

DBX 120A
Subharmonic Synthesizer

To survive in this modern day audio jungle, the contemporary studio must
 be lithe and agile; a facility that can adapt to any workflow: 
effortlessly. Tracking, mixing and mastering services oftentimes must be
 performed under one roof, utilizing every particle of outboard gear 
available.<br>
<br>
The <span style="font-weight: bold;">Dangerous Liaison</span> realizes 
this dream by providing unprecedented access to your outboard equipment.
 Connect up to six of your favorite two channel units to the Liaison 
(more if you daisy chain, leverage a patch bay or add a Dangerous 
Master). Instantly audition any device or combination, change the order,
 dial in some parallel processing and then store these customized signal
 paths as presets to use again, on demand, anytime. True hard-wire 
bypass relays remove the gear entirely from the signal path; this 
includes outboard that lacks an integrated bypass or true hard-wire 
bypass. Mastering grade components switch instantly and silently, 
providing true A/B comparisons without coloration or latency. Pre and 
post-processing monitor outputs make it simple to audition between the 
original source and the treated product.<br>
<br>
The A and B buss paths aren’t just for comparing signal paths. They can 
be strung together in series. For example, if your favorite EQ (the BAX 
of course) is connected at 1 and a limiter is connected at 5, selecting 5
 from Buss A and 1 from Buss B reverses their order.<br>
<br>
Parallel Processing allows the original and effected signals to be 
blended independently. For example: crush the drums with heavy 
compression for tight, explosive impact, while mixing in the original to
 retain transients and dynamics.<br>
<br>
<span style="font-weight: bold;">Features</span><br>
<ul><li>6 Stereo Insert Loops, Assignable to 2 Stereo Busses</li><li>Flexible and Potent Parallel Processing Loop</li><li>Route, Switch, Matrix, Flip & Audition Instantly</li><li>Recall any Tracking, Mixing or Mastering Configuration</li><li>Seamlessly Integrates with Dangerous Master</li></ul>
<span style="font-weight: bold;">Application Examples</span><br>
<ul><li>Tracking: craft recall-able patches for cutting</li><ul><li>Pop vocals, hip hop, voice overs...</li><li>Kick drums that click, resonate or “thwomp!”</li><li>Bass lines that are rich, liquid, punchy or fat</li><li>Parallel processing with a compressor, Dolby A or...</li></ul><li>Mixing: use it for</li><ul><li>All the tracking tricks above</li><li>And all the mastering examples below</li></ul><li>Mastering: audition the possibilities</li><ul><li>EQ before compression? Or compression before EQ?</li><li>Compression ratio at 1:1.5 with a low threshold followed by limiting at 1:20 with a high threshold?</li></ul></ul>
The Dangerous Liaison: unlock the potential of all your outboard on 
every session, every time, in precise, repeatable combinations.

Dangerous Music Liaison
Signal router/switcher that allows connection of devices in six insert loops and parallel effects loops

<b></b><b>Tape + CLASP + DAW = What’s Been Missing</b><br> <br>'Quick, easy, and professional beyond all expectations, CLASP proves to be the biggest breakthrough in recording technology we’ve seen in years.' <span style="font-style: italic;">- EQ Magazine</span><br> <br><span style="font-weight: bold;">What could single-handedly revive analog tape and make your tape machine worth 50 grand again?</span><br>When tape-based recording was largely replaced by DAWs, it left a sonic void that plugins have not been able to fill.  CLASP is tape > at digital speed.  CLASP routes all audio to tape then lines it up with sample accuracy in the DAW in real time.  CLASP integrates your tape machine into the modern DAW workflow, making the most of both platforms.  All functionality of the DAW remains, but your computer will sound like your tape machine.  You’ll spend more time recording, and no time waiting for transfers, Lynx boxes or SMPTE.<br> <br>The DAW controls the tape machine, and you don’t have to touch it once tape is loaded.  DAW features like playlists and quickpunch are not compromised.  Perhaps best of all, CLASP delivers what is technically impossible with a DAW alone:  zero latency, real time analog monitoring.   Better for singers and the groove.<br> <br>Switch tape speeds to get different tones all within the same project—track drums at 15ips, bass at 7.5 and vocals at 30, for example.  CLASP is easy on transports because it’s not chasing anything.   Standard tape reels are used from top to tails which means  the tape wears down much more slowly, lasting anywhere from multiple songs to multiple projects.  Record as many simultaneous tracks as your tape machine and converters can accommodate.<br> <br><span style="font-weight: bold;">CLASP consists of mastering-grade hardware and rock-solid control software</span><br><ul><li>Analog auto-router with zero-loss and zero latency.</li><li>Tape machine remote emulator—works with virtually any professional analog tape machine that has a remote connection. </li><li>Master control plugin to coordinate delay compensation, tape track arming and tape transport. </li><li>Supports Mac and PC, Pro Tools, Nuendo, Cubase, and DP (coming soon).</li></ul> <br><span style="font-weight: bold;">Draw a sonic line in the sand:  between normal studios | and studios with tape machines.</span><br> <br><span style="font-weight: bold;">With CLASP your tape machine will generate business again and cost less to operate</span><br><ul><li>CLASP encourages overdubs on tape.  Give clients a HUGE SOUNDING reason to make their entire record in your studio.</li><li>Mid-session tape transfers are no more, and no longer a stumbling block to studio owners or artists.</li><li>Reuse tape.  Minimize tape costs and make analog recording affordable again.</li><li>Less wear and tear on tape machine means less maintenance. </li><li>One CLASP system can operate up to three machines:  Get the most of your tape machine investments.</li><li>Easy installation and set up (about one hour) with Free Technical Support.</li></ul> <br><span style="font-weight: bold;">CLASP – The Sound of What’s Been Missing</span><br><br>Call Vintage King today to arrange a demo!<br style="font-weight: bold;"><br><span style="font-weight: bold;">Manufacturer's Description</span><br>Finally, Pro Tools ® sounds like your analog tape machine. <span style="font-weight: bold;">Endless Analog CLASP</span> is a revolutionary device that ties your existing tape machine to your DAW system invisibly.<br><br>The Closed Loop Analog Signal Processor (CLASP ®) is a hardware and software system that integrates Analog Tape Recorders with Digital Audio Workstations using a proprietary method called SST ® (sample synchronization technology). CLASP ® delivers a true analog front end recording solution with the sonic character of your tape machine.<br><br>CLASP ® works invisibly in the background allowing you to capture all the great warmth off the tape but without impeding the workflow and since you’re not saving endless out takes of tape, CLASP ® is easy on the budget as well.CLASP ® turns your analog tape machine into an analog flavored plug-in, delivering a true analog front end recording solution with all the sonic character of real tape.<br><br><span style="font-weight: bold;">The fat sound of real analog tape</span><br>Imagine experiencing analog tape recording as fast, effortless and time-saving as Pro Tools ®. With the CLASP ® system you can record using tape while simultaneously maintaining all the speed, flexibility, and editing capabilities that you depend on from your workstation. CLASP ® allows for a seamless analog recording experience where all recording and overdubs are done in real time, and all audio is stored in your Pro Tools session. Record one or several albums using a single reel of tape.<br><br style="font-weight: bold;"><span style="font-weight: bold;">How do I use it?</span><br>CLASP ™ installs between your mic pre’s, DAW, and tape machine, typically accessible through your patch bay. CLASP ™ is compatible with Pro Tools HD ®, Logic ®, and Nuendo ®, providing 24 tracks of recording. Supported tape machines include Studer, MCI, Otari, 3M, Ampex, Sony, and Tascam. The CLASP ™ software suite includes versions for RTAS, AU, & VST. Once installed, simply set up a recording session inside your DAW, initialize synchronization of your analog recorder to your DAW with CLASP ™, and you are ready to record. Daisy chain up to three CLASP ™ hardware interfaces and synchronize three analog recorders for a total of 72 channels of recording. Use with a 24, 16 or 8 track for tracking sessions or even a 2 track for overdubs. Combine different machines and tape speeds for different tones. With the CLASP ™ the possibilities are endless. Record, listen, and enjoy. <br><br><a href="http://instantvintage.net/docs/ENDLESS_ANALOG_CLASP_CONNECTION_DIAGRAM.pdf" target="blank">Download the CLASP connection diagram (pdf)</a><br><br><span style="font-weight: bold;">CLASP DEMO TOUR: <a href="/Endless-Analog-Clasp-Demonstration-Tour">(click here)</a><br>CLASP demo system in Los Angeles</span>, make an appointment today! Contact Jeffrey Ehrenberg 248 591 9276 ext 102 <a href="mailto:jeffrey@vintageking.com">jeffrey@vintageking.com</a><br><br><span style="font-weight: bold;">Features</span><br><ul><li>Zero-loss signal path</li><li>Sample accurate synchronization</li><li>Auto input monitor switching</li><li>Full latency compensation</li><li>Zero latency analog monitoring</li><li>Auto tape transport control</li><li>Post-roll record</li><li>Return to zero rewind from DAW</li><li>Audible rewind function</li><li>Auto rewind</li><li>End of tape sensor</li><li>Large tape reel support</li><li>CLASP Machine Matrix Ready</li><li>MMC and HUI support</li><li>Remaining tape time counter</li><li>Auto channel cascading</li><li>Repro only monitor option</li><li>Daisy chaining</li><li>Auto standby mode</li><li>Machine online / offline hotkey</li><li>Arm / Disarm all tracks hotkey</li><li>Machine sync memory</li><li>Direct record mode</li><li>MIDI Programmer mode</li></ul><span style="font-weight: bold;">Supported Tape Machines</span><br>If you do not see your tape machine listed hereplease contact us.<br><ul><li>3M M79</li><li>Ampex</li><li>Ampex ATR 102</li><li>MCI JH Series</li><li>Otari MTR</li><li>Otari MX 5050</li><li>Sony APR-24</li><li>Studer 800</li><li>Studer A80</li><li>Studer A827</li><li>Studer J37</li><li>Tascam</li></ul><span style="font-style: italic;">Dear Endless Analog,</span><br style="font-style: italic;"><span style="font-style: italic;">Thanks for making such an amazing product with CLASP. It was a very important part of the new Taylor Swift album Speak Now. Having the tape machine rolling during recording inspired our creativity and captured sonic nuances that would have been otherwise missed. Vocals, electric guitars, and bass, are just a few of the instruments that we used with CLASP. You guys rock. Peace to you, and tape to all.</span><br style="font-style: italic;"><span style="font-style: italic;">-Nathan Chapman</span>

Endless Analog Clasp
Closed Loop Analog Signal Processor which allows you to record on analog tape with digital speed.

The theremin is one of the oldest electronic instruments, and the only one known that you play without touching. Moving your hands in the space around its antennas controls pitch and volume. Like the Ethervox, the <span style="font-weight: bold;">Moog Music Etherwave</span> is an authentic adaptation of inventor Leon Theremin's original design.
<p>
The Etherwave is a quality theremin with a design that retains many characteristics of the original theremins, including a five-octave pitch range and reliable spacing between notes for sophisticated playability. Antennas are nickel-plated 3/8" brass tube and cabinets are furniture-grade hardwood, finished black. The Etherwave is fitted with an adapter for mounting on a standard microphone stand and is designed for use with a musical instrument amplifier such as the Moog TB-15.
</p><p>
All Etherwaves in the ship with two video tutorials on one DVD: Clara Rockmore: the Greatest Theremin Virtuosa, and Mastering the Theremin, featuring Lydia Kavina.</p>

Moog Music Etherwave Standard Theremin - Assembled
Assembled

Call for availability

Moog Music Etherwave Theremin - Kit
Etherwave Theremin Kit

Call for availability

The <span style="font-weight: bold;">Quantec Yardstick 2496</span> room 
simulators are high-quality, digital sound processing devices based on 
the original 1982 QRS Room Simulation algorithm.<br>

<br>

Due to its unobtrusive, natural character and its superb room
simulation, the original QRS has become a lot more than just a
well-know production tool for pop music. In the fields of classical
music production, chamber music, as well as in movie post-production,
the QRS is considered to be the Yardstick for all competing products.
In other words, whenever a natural sounding ambience is desired, and
any kind of artificial reverberation is not, the QRS algorithm has been
repeatedly praised by countless sound professionals.<br>

<br>

Due to the sophisticated characteristics of the QRS algorithm, any
QUANTEC Room Simulator stands out favorably among the competition. But
there are quite a few situations where its sonic qualities really shine:<br>

<ul><li>In the final mix, where it is unobtrusively transparent with
virtually no tendency to blur – even with a full dose over the entire
set of tracks</li><li>In a multitude of productions in classical music, 
where any room
impression with an artificial smack is undesirable – for stylistic
reasons alone</li><li>In the production of movies and radio dramas, 
where its virtually
tangible room illusions simulate real rooms, which – in cramped
environments – may actually create a physically unpleasant feeling of
pressure</li><li>In movie productions, using its outstanding ambience in
 spacious effects</li><li>In sound reinforcement and P.A., where those 
pronounced resonance
lines and gaps in the acoustic spectrum of a hall not suited for
musical performances can be averaged and smoothed out. As a result, the
sound of a general-purpose municipal hall becomes more suitable for
music, and the risk of feedback is reduced</li><li>During the 
musical-improvisatory play with the reverberation onset – or the 
effervescence of the room</li></ul>

Since the sound characteristic of the QRS algorithm – and thus that of
Yardstick as well – is quite a bit different when compared to the
competition, it inevitably will have a significant influence on the
number and types of the available parameters.<br>
<br style="font-weight: bold;">
<span style="font-weight: bold;">Quantec 2496 Features</span><br>
<ul><li>Both high density and low coloration at the same time</li><li>Stunning
 transparency</li><li>Subsonic option for thunder and earthquake effects</li><li>2
 in / 2 out mode (standard QRS plug-in ≤192kHz)</li><li>2 in / 6 out 
mode (standard QRS plug-in ≤96kHz)</li><li>2 unique phase-insensitive 
input channels</li><li>Up to 6 separate output channels</li><li>Up to 3 
stereo output pairs with 50% correlation (adjustable)</li><li>Up to 8 
front panel bargraph level meters</li><li>Low latency <<1ms</li><li>Mute,
 Bypass, and Solo functions with individual LED-illuminated 
front panel buttons</li><li>Embedded click test generator</li><li>14 
plus/minus toggles for direct front panel access to parameters</li><li>A
 total of 27 front panel operating elements</li><li>Up to 15 plug-in 
banks for software</li><li>Web browser based remote control via Ethernet</li><li>MIDI<br>
</li><li>Tiny cool-running unit, 19" 1PU, just 36mm (<1½") deep</li><li>Universal
 supply (100-240V, 50-60Hz), power consumption <15VA</li></ul>

Quantec Yardstick 2496 Stereo/Surround Room Simulator
2 digital AES3 input channels, 6 digital AES3 output channels, plug-in sample rate up to 216 kHz

The <span style="font-weight: bold;">Quantec Yardstick 2498</span> room 
simulators are high-quality, digital sound processing devices based on 
the original 1982 QRS Room Simulation algorithm.<br>
<br>
Due to its unobtrusive, natural character and its superb room
simulation, the original QRS has become a lot more than just a
well-know production tool for pop music. In the fields of classical
music production, chamber music, as well as in movie post-production,
the QRS is considered to be the Yardstick for all competing products.
In other words, whenever a natural sounding ambience is desired, and
any kind of artificial reverberation is not, the QRS algorithm has been
repeatedly praised by countless sound professionals.<br>
<br>
Due to the sophisticated characteristics of the QRS algorithm, any
QUANTEC Room Simulator stands out favorably among the competition. But
there are quite a few situations where its sonic qualities really shine:<br>
<ul><li>In the final mix, where it is unobtrusively transparent with
virtually no tendency to blur – even with a full dose over the entire
set of tracks</li><li>In a multitude of productions in classical music, 
where any room
impression with an artificial smack is undesirable – for stylistic
reasons alone</li><li>In the production of movies and radio dramas, 
where its virtually
tangible room illusions simulate real rooms, which – in cramped
environments – may actually create a physically unpleasant feeling of
pressure</li><li>In movie productions, using its outstanding ambience in
 spacious effects</li><li>In sound reinforcement and P.A., where those 
pronounced resonance
lines and gaps in the acoustic spectrum of a hall not suited for
musical performances can be averaged and smoothed out. As a result, the
sound of a general-purpose municipal hall becomes more suitable for
music, and the risk of feedback is reduced</li><li>During the 
musical-improvisatory play with the reverberation onset – or the 
effervescence of the room</li></ul>
Since the sound characteristic of the QRS algorithm – and thus that of
Yardstick as well – is quite a bit different when compared to the
competition, it inevitably will have a significant influence on the
number and types of the available parameters.<br>
<br>
<span style="font-weight: bold;">Quantec 2498 Features</span><br>
<ul><li>Both high density and low coloration at the same time</li><li>Stunning transparency</li><li>Subsonic option for thunder and earthquake effects</li><li>2 in / 8 out mode (standard QRS plug-in ≤96kHz)</li><li>8 in / 8 out mode (standard QRS plug-in ≤48kHz)</li><li>Dual/quadruple 2 in / 2 out mode (special QRS2/4 plug-in 
≤96/48kHz, TBA)</li><li>Up to 8 unique phase-insensitive input channels</li><li>Up to 4 stereo input pairs with adjustable staggered depth offsets</li><li>Up to 8 separate output channels</li><li>Up to 4 stereo output pairs with 50% correlation (adjustable)</li><li>Up to 16 front panel bargraph level meters</li><li>24bit / 96kHz for all signal paths (±12.5% Varispeed)</li><li>Low latency <<1ms</li><li>Mute, Bypass, and Solo functions with individual LED-illuminated 
front panel buttons</li><li>Embedded click test generator</li><li>14 plus/minus toggles for direct front panel access to parameters</li><li>A total of 27 front panel operating elements</li><li>Up to 63 plug-in banks for software</li><li>Web browser based remote control via Ethernet</li><li>MIDI</li><li>Audio I/O via DSUB25 receptacle (AES59, Tascam, and Yamaha 
pinouts)</li><li>Cable snake (DSUB25 cable plug to 8 XLR) shipped with the unit</li><li>Tiny cool-running unit, 19" 1PU, just 36mm (<1½") deep</li><li>Universal supply (100-240V, 50-60Hz), power consumption <20VA</li></ul>

Quantec Yardstick 2498 Multichannel/Surround Room Simulator
8+2 digital AES3 input channels, 8 digital AES3 output channels, plug-in sample rate up to 108 kHz (incl. ±12.5% varispeed)

<p><B>The easy way to incorporate guitar effects</B><br><br>Guitar effects on vocals, drums, and more? Sure, it’s been done. But not like this. The <B>Radial EXTC</B> guitar effects interface lets you easily incorporate the pedals you want, while maintaining the utmost sound quality. Wah on vocals? Tremolo on violin? The EXTC makes it happen, opening up creative possibilities while keeping sound quality central, all in the convenient 500 Series format.<br><br><B>Balanced interface for guitar effects pedals</B></p>
<ul>
<li>Optimized signal path preserves your sound quality</li>
<li>Convenient 500 Series format</li>
</ul>
<p><br><B>Balanced interface for guitar effects pedals</B><br>With the Radial EXTC, you can easily tap into the wild world of effects pedals at any phase of the recording process, while maintaining the signal quality your professional recording rig demands. Just connect a line-level audio signal, then let the EXTC work its magic. The EXTC will convert to a hi-Z signal, so you can patch in any stompboxes you want via 1/4" send and receive connectors on the front panel. Send and Receive knobs are there for setting levels, while a blend control lets you attain just the right amount of the effect.<br><br><B>Optimized signal path preserves your sound quality</B><br>Radial built the EXTC with signal integrity chiefly in mind, opening up the doors to creative stompbox use beyond just lo-fi applications. The EXTC includes Radial’s award-winning, fully discrete Class A guitar buffering as well as transformer isolation to eliminate ground loop buzz and hum. There’s also a 180º polarity reverse to keep your effects and balanced signals in phase.<br><br><B>Convenient 500 Series format</B><br>Canada-based Radial Engineering has embraced the 500 Series format, contributing a range of excellent-sounding (and exceptionally made) tonal tools and sonic options to the popular modular format. The EXTC is another fine example of Radial at its best, ready to go in any 500 Series compatible rack.<br><br><B>Radial EXTC Features:</B></p>
<ul>
<li>Balanced guitar effects interface</li>
<li>500 Series modular format</li>
<li>Front-panel 1/4" send and receive jacks</li>
<li>Knobs for Send and Receive level</li>
<li>Blend control knob</li>
<li>180º polarity reverse switch</li>
<li>Fully discrete Class A guitar buffering</li>
<li>Transformer isolation to eliminate ground loop hum</li>
</ul>
<p> </p>
<ul>
</ul>

Radial Engineering EXTC 500
Balanced 500 Series interface for guitar effects pedals – send, receive, and blend control

Not yet available.

The <span style="font-weight: bold;">Radial Engineering Tank Driver </span>500 Series Module is designed to let you take that great-sounding spring reverb tank that's normally sitting unused at the bottom of your guitar combo when you're mixing, and gives you a way to power /drive signal into and out of it for use in your mixes. And the reverb doesn't have to be one mounted in an amp! Replacement reverb pans can be had fairly cheap in varying lengths to change the reverb time and tone.<br><br>Designed to fit both the Radial Workhorse and older API type racks, the Radial Engineering Tank Driver features a wet dry mix to balance the signal and shimmer and boom controls to add top-end or extra boom to the tone. (We could not resist!). For older reverbs that may be less sensitive, a drive switch increases the output to compensate. For those who are equipped with Workhorse, the Omniport adds a TRS insert point for easy interfacing to a patchbay. <br><br><span style="font-weight: bold;">Features</span><br><ul><li>Blend – Sets the balance between the dry signal and the wet reverb.</li><li>Drive – Increases the output going to the reverb for less sensitive reverb tanks.</li><li>Omni Insert – Sends the signal to the Omniport TRS on the Workhorse which in this case is a send & receive insert jack.</li><li>Shimmer – Increases the high frequency tone of the wet reverb circuit.</li><li>Boom – Increases the low frequency tone of the wet reverb circuit.</li><li>Send – Output connection that goes to the reverb tank.</li><li>Recv – Return path from the reverb tank to the Tank Driver.</li><li>Omniport – When used with Workhorse, ¼” TRS insert jack with tip-send, ring-return can be used instead of the front panel connectors.</li><li>100% Discrete electronics<br></li><ul><li>Tank Driver employs full size through-hole discrete electronics for optimal signal transfer.  Parts are selected by hand.</li></ul><li>Radial Push Switches<br></li><ul><li>Road proven Radial switches feature an extra durable metal outer casing.  Rated at over 20,000 cycles for added durability.</li></ul><li>Double Layer Front Panel<br></li><ul><li>Steel construction adds rigidity to reduce stress on the PC board.  Provides the solid feel one expects from a Radial product.</li></ul><li>Dual Potentiometers<br></li><ul><li>Double up solder points for greater durability.  Steel casing with steel shaft and retention nut will not bend when under stress.</li></ul><li>Gold Plated 15-pin Card Edge<br></li><ul><li>Double sided to ensure positive connection to the receptacle for improved mating.</li></ul><li>Mil-spec Circuit Board<br></li><ul><li>Features double sided PCB and full ground plane to assure lowest noise and greater durability for years of trouble-free performance.</li></ul></ul>

Radial Engineering Tank Driver 500
500 Series Module

The <span style="font-weight: bold;">Rupert Neve 5042</span> provides a remarkable simulation of true tape sound through the inclusion of genuine tape drive circuitry. When the Tape circuit is not engaged, the 5042 may be used as a full, transformer-coupled, high-performance line amplifier that includes a Gain range of + and – 12 dB. The Portico™ 5042 Two Channel "True Tape" Emulation and Line Driver unit’s emulation circuit provides the nostalgic rounding and compression usually only achieved by the use of tape. This typically offsets the harshness often found in digital recordings. The Portico™ 5042 incorporates an actual tape drive circuit that feeds a tiny magnetic “head” which, in turn, is coupled to a correctly equalized, replay amplifier. The only thing missing is the tape itself!
<p>
The Portico™ 5042 consists of two identical Line Driving amplifiers having transformer balanced inputs and outputs. The sonic quality of these amplifiers is such that, by providing galvanic isolation, simple single-sided circuit topology and freedom from grounding problems they are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic “signature” is one of extreme purity and the image is consistent with that of Rupert Neve’s original designs of 35 – 40 years ago.</p>

Rupert Neve Designs Portico 5042 2 Ch True Tape - Horizontal
Two Channel "True Tape" Emulation and Line Driver (Horizontal)

The <span style="font-weight: bold;">Rupert Neve 5042</span> provides a remarkable simulation of true tape sound through the inclusion of genuine tape drive circuitry. When the Tape circuit is not engaged, the 5042 may be used as a full, transformer-coupled, high-performance line amplifier that includes a Gain range of + and – 12 dB. The Portico™ 5042 Two Channel "True Tape" Emulation and Line Driver unit’s emulation circuit provides the nostalgic rounding and compression usually only achieved by the use of tape. This typically offsets the harshness often found in digital recordings. The Portico™ 5042 incorporates an actual tape drive circuit that feeds a tiny magnetic “head” which, in turn, is coupled to a correctly equalized, replay amplifier. The only thing missing is the tape itself!
<p>
The Portico™ 5042 consists of two identical Line Driving amplifiers having transformer balanced inputs and outputs. The sonic quality of these amplifiers is such that, by providing galvanic isolation, simple single-sided circuit topology and freedom from grounding problems they are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic “signature” is one of extreme purity and the image is consistent with that of Rupert Neve’s original designs of 35 – 40 years ago.</p>

Rupert Neve Designs Portico 5042 2 Ch True Tape - Horizontal (Demo Deal)
Two Channel "True Tape" Emulation and Line Driver (Horizontal)

The second in an ever expanding series of all-analogue products designed to be used either individually, or as one of the principal sound control elements of an integrated Portico™ system. The 5042 provides a remarkable simulation of true tape sound through the inclusion of genuine tape drive circuitry. When the Tape circuit is not engaged, the 5042 may be used as a full, transformer-coupled, high-performance line amplifier that includes a Gain range of + and – 12 dB. The Portico™ 5042 Two Channel "True Tape" Emulation and Line Driver unit’s emulation circuit provides the nostalgic rounding and compression usually only achieved by the use of tape. This typically offsets the harshness often found in digital recordings. The Portico™ 5042 incorporates an actual tape drive circuit that feeds a tiny magnetic “head” which, in turn, is coupled to a correctly equalized, replay amplifier. The only thing missing is the tape itself!
<p>
The Portico™ 5042 consists of two identical Line Driving amplifiers having transformer balanced inputs and outputs. The sonic quality of these amplifiers is such that, by providing galvanic isolation, simple single-sided circuit topology and freedom from grounding problems they are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic “signature” is one of extreme purity and the image is consistent with that of Rupert Neve’s original designs of 35 – 40 years ago.

Rupert Neve Designs Portico 5042 2 Ch True Tape - Vertical
Two Channel "True Tape" Emulation and Line Driver - Vertical

In studio and on stage the <b>SPL Transducer</b> replaces the guitar speaker cabinet and microphone(s) so that the time and resource-intensive microphone processing of this loud sonic source is no longer necessary.
In addition the Transducer offers much more sonic flexibility and variety than a single mike and cabinet setup because it allows for varied speaker and mike simulations while allowing to retain accustomed features of individual setups (such as the ability to vary level-dependent loudspeaker characteristics and microphone distances).<br><br><strong>Features</strong><br><ul ><li>Authentic sound qualities and real time 
response for the guitar player – in contrast to digital simulations with
 latencies in processing</li><li>Independence from volume levels during performances or recording sessions</li><li>Independence from room acoustics in recordings </li><li>Provides for a live signal in recording quality without crosstalk from miking</li><li>Great space and weight reduction in transport</li></ul>

SPL Transducer
Analog speaker and miking simulator

Originally designed as a "distortion box" to simulate distortion in valve amps, the <B>Thermionic Culture Vulture</B> has found lots of uses beyond this. We know that some owners use them on drum loops, vocals, piano sounds and even across entire tracks (it is a stereo unit). 
<P>We have refined this so that distortion figures are reduced to only 0.2% at lowest to about 99.9% (at least that's what our distortion meter tells us!). Predominant distortion can be changed from even to odd harmonics with a simple switch. We know it's recently been rented to mix a JAMES BOND movie! 
<P><B>Key Features:</B> 
<P>Warm sounds gently or create a noise like a 200 watt guitar stack with all the drivers slashed.<BR>Independent channel operation 
<UL>
<LI>Odd or even harmonic distortion, or combination of both. 
<LI>All valve design free from solid state additives. 
<LI>High impedance line input or instrument inputs. 
<LI>4 & 7 kHz filters 
<LI>Overdrive & bypass switches</LI></UL>
<B>Some Cultured users...</B>
<BR>
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>Black Dog Productions  - Earlybird 2.2, Pullet, Phoenix Mastering Compressor, Culture Vulture.

<LI>Al Schmitt - Phoenix

<LI>Big Life Music - Phoenix Master Compressor

<LI>Steve Dub Jones - Earlybird 2

<LI>The Dairy - Phoenix

<LI>Al Stone - Culture Vulture

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

<LI>PABLO MUNGUIA - ROBBIE WILLIAMS - PHOENIX & CULTURE VULTURE

<LI>STEPHEN STREET - KAISER CHIEFS - CULTURE VULTURE

<LI>JAMES FORD  - PRODUCER - ARTIC MONKEYS - CULTURE VULTURE

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

<LI>Peter Katis

<LI>Chemical Brothers - Culture Vulture Mastering MV & Phoenix<BR>
"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>Peter Gabriel - Real World Studios - Culture Vulture

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

<LI>Mike Caffrey

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

<LI>Tom Findlay - Groove Armada - Earlybird-2, Phoenix

<LI>Pietro Taucher - Engineer for Sharrie Williams

<LI>Paisley Park

<LI>Tie Dye Keith

<LI>Jerry Harrison and Eric Thorngren (Talking Heads)

<LI>Peter Katis

<LI>Jimmy Boyle

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

<LI>Angel Mountain Studios

<LI>Overtones

<LI>Andy Strange ( recent credits include Robbie Williams )

<LI>David Ives

<LI>Bernard Butler

<LI>Tony Hoffer ( Beck , Turin Breaks )

<LI>Edwyn Collins

<LI>Mick Jones

<LI>The Libertines

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

<LI>Portishead

<LI>Ken Nelson ( Badly Drawn Boy, Coldplay )

<LI>Dave Gilmour

<LI>The Prodigy

<LI>Hugh Jones

<LI>Strong Room Studios

<LI>Air Studios

<LI>Mute Records

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

<LI>San Francisco Soundworks

<LI>“La Source” Mastering suite - Paris France

<LI>Yves Jaget

<LI>Bertrand Blais producer of Etienne Daho

<LI>Wisseloord Mastering

Thermionic Culture Vulture
Highly-versatile and musical two-channel tube distortion unit - add subtle warmth, completely mangle sounds and everything in between

<p>This is the latest in the <b>Culture Vulture</b> range and is designed to be used both as a mastering tool and for those applications where balanced inputs and outputs are required plus some extreme distortion. It has lower noise, better frequency response, and greater accuracy in level controls by having a three-position input gain switch and a two-position output attenuator.</p><p>We use Mullard M8100 low-noise, high-gain valves in the input stage, a pair of GE 5725s for distortion effects, and the Philips 5963 in the output. All are military-grade valves for long life. There is an extra exciting distortion setting on the Function switch. This is labelled P2.  It’s similar to P1 (the most used, Pentode setting) but goes into mad distortion and compression when the valve is overloaded. The old P2 is now P3. In addition to the line level transformer balanced output, there is a lower level unbalanced output which can be used to go to inputs that require low level or if one wants to avoid the distortion in the output transformer.</p><p>Main advantages over previous versions:</p><ul><li>Transformer balanced inputs & outputs on stereo jacks</li><li>Large indented input Drive controls with 3 position switch</li><li>Indented Output level controls with attenuator switch</li><li>Four-position Function control for distortion “flavors”</li><li>Military-grade valves with longer life and low microphony, including matched 5725 distortion valves</li><li>Extended frequency response</li><li>Lower noise<br></li></ul><b>Specifications:<br></b>Figures obtained with 1kHz signal, 0.25mA bias current, function at T, feeding a 10kΩ load.<br><br><ul><li>Maximum output level: +21dBu, 20% distortion</li><li>Distortion: 0.2% to 98%</li><li>Noise: 83dB below MOL</li><li>Input impedance: line - 20kΩ, DI: 50kΩ</li><li>Output impedance: Hi output: 2kΩ, Lo output: 4kΩ</li><li>Frequency response: +0.5dB/-1dB over 40Hz to 20kHz</li><li>Max gain: 76dB (P1, min bias)</li></ul><br><b>Valve Complement:</b><br><br><ul><li>Input: M8100 (equiv. CV4010*, 5591, EF95) x2</li><li>Output: 5963 (equiv. CV4003*, ECC82, 12AU7)</li><li>Distortion: 5725 (equiv. CV4011*, M8196, 6AS6) x2</li></ul><br>*CV is the British military equivalent to US JAN

Thermionic Culture Vulture Mastering Plus
Mastering-grade stereo valve distortion - transformer-balanced with detented controls

With the <b>Thermionic Culture Vulture Solo</b> there is more of a focus
 on use with guitar and bass DI / amplifier front end applications but 
the unit also retains all the useful features for line level 
applications that previous models, including the Limited Edition Culture
 Vulture, offered.<br>
<br>
The Culture Vulture Solo is a single channel unit in a 2U 19" rack 
chassis. It features the ability to switch, via the front panel or a 
dedicated foot-switch, between the Clean and Dirty channels.<br>
<br>
The Clean channel is an active channel that provides up to 35dB variable
 gain to an instrument level signal with a flat but warm sounding 
frequency response.<br>
<br>
The Dirty channel has the Vultures Drive, Distortion type, Bias controls
 found on a standard Culture Vulture. It also features the PQ positions 
found on a Limited Edition Culture Vulture and the two Squash positions 
found on the Mastering and Limited Edition Culture Vultures. The Dirty 
channel has a brand new Presence control and a more control over the 
amount of LPF available.<br>
<br>
The rear input connector of the Culture Vulture Solo is unbalanced and semi-floating for improved integration with a DAW setup.<br>
<br>
Thermionic Culture believes that the Culture Vulture Solo has a greater 
range in the tonality that can be applied to mono instrument signals 
than ever before, providing any signal with warm sounding gain or 
infinitely adjustable amounts of saturation, distortion and bite.<br>
<br>
The valve complement of the Culture Vulture Solo is:<br>
<ul><li>1 ECC83 double triode</li><li>1 5725 / 6AS6 single pentode</li><li>1 12DW7 / ECC832 double triode  </li></ul>

Thermionic Culture Vulture Solo
Single-channel version of the acclaimed tube distortion unit




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