Mastering Processors | VintageKing.com

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Mastering Processors

Lavry Engineering's latest revision to the Model 3000S Sample-Rate Data Format Converter consists of THD+N (total harmonic distortion and noise) measurement capabilities. The new function expands the usefulness of this "digital audio all in one tool". The new feature offers the high performance and ease of use found in all the other features (data format conversion, sample rate conversion, Acoustic Bit Correction, reference meter bridge and test tone generation). 24 bit tone generation and THD+N measurement accuracy in excess of 122ÝdB provide sufficient margin for the next generation of digital audio equipment.   
<p>
The Model 3000S's test tone generation and Signal analysis are independent of each other. This flexibility allows performing either function separately or both simultaneously. Distortion and noise   
</p><p>
Real hardware generated tones contain both distortion and noise. Harmonic distortion is referred to as energy residing at multiples of the tone frequency. Noise is all other undesirable energy.</p>

Lavry LE3000S
96kHz Digital Optimizer/Sample-Rate Data Format Converter

Maselec MDC-70
VMS-70 Controller

Maselec MDC-80
VMS-80 Controller

Maselec MTC-6 Surround
Surround extension for the MTC-2

The <span style="font-weight: bold;">Rupert Neve Portico 5014 Stereo Field Editor </span>introduces
an innovative application of well-known techniques that redefines the
boundaries and limitations of traditional 2-channel stereo recording
and playback. Operating entirely in the analogue domain, the Portico
5014 uses discrete component circuits, comprising a variable sum and
difference network with level and phase controls, together with other
key features, to affect stereo sources.<br>
<br>
Intended for recording, mixing and mastering applications, the Portico
5014 differentiates between near field (direct) and far field (ambient)
sources and allows the manipulation of the relationship between mono
panned images and stereo ambience through the use of width, depth and
phase controls. Source material may be further manipulated by inserting
external EQ or dynamics processing into the difference channel or by
engaging the simple onboard mid-band EQ.<br>
<br>
Designed with the same half-rack dimensions as the rest of the Portico
range, available in horizontal or vertical formats, and utilizing Mr.
Rupert Neve’s custom transformer designs, the 5014 is a unique addition
to the modern engineer’s palette that brings dimension and life to any
recording.<br>
<br>
<span style="font-weight: bold;">Width</span><br>
When the width circuit is engaged, the stereo signal is split into a
sum and difference network, allowing the width, depth, insert and EQ
controls to be used. The width control enables the user to increase or
decrease the width of a stereo image (wide/mono) and adjust the amount
of ambience inherent in the recording. As the width control is rotated
toward wide, the amount of difference material is boosted, thus
altering the signal that the depth, insert and EQ affect. Conversely,
the stereo field is contracted when rotated to mono, and, if the left
and right channels are highly coherent (i.e. both channels include
closely similar material that is in phase), this mono content is
enhanced. If the phase of one of the input channels is then reversed
the mono content may be virtually eliminated. Because the amount of
effect the width control has is entirely dependent on the amount of
stereo information in the original source material and the interplay
between the 5014’s other controls, listening and experimentation are
essential for the best results.<br>
<br>
<span style="font-weight: bold;">Depth</span><br>
The depth control of the 5014 adjusts the spatial positioning of
elements in the sound stage. A solo instrument or vocal can be placed
up front in a mix and supporting instruments can be pushed back, for
example. In many cases, a center-panned vocalist can be placed forward
in a mix or virtually eliminated without adversely affecting the music
bed. Used in conjunction, the depth and width controls effectively
alter the perceived room ambience and dimension.<br>
<br>
<span style="font-weight: bold;">Difference Channel Insert</span><br>
The difference channel insert and EQ offer new opportunities to
manipulate stereo signals. In mastering use, lead vocals can be brought
up or down in a mix, excessively sibilant overheads can be controlled,
and mixes formerly considered beyond repair can be saved. By inserting
effects such as reverb, additional EQ, compression, or expansion into
the difference channel new creative options for altering ambience and
adding movement to the stereo image are available.<br>
<br>
<span style="font-weight: bold;">Difference Channel EQ</span><br>
The difference channel includes a semi-parametric EQ with frequencies
ranging from 120Hz to 2.4KHz and two selectable Qs that only affect
material panned out of center. This can be very useful for eliminating
room resonance or adding sparkle to ambient material.

Rupert Neve Designs Portico 5014 - Vertical
Stereo Field Editor

The <span style="font-weight: bold;">Rupert Neve Portico 5014 Stereo Field Editor </span>introduces
an innovative application of well-known techniques that redefines the
boundaries and limitations of traditional 2-channel stereo recording
and playback. Operating entirely in the analogue domain, the Portico
5014 uses discrete component circuits, comprising a variable sum and
difference network with level and phase controls, together with other
key features, to affect stereo sources.<br>
<br>
Intended for recording, mixing and mastering applications, the Portico
5014 differentiates between near field (direct) and far field (ambient)
sources and allows the manipulation of the relationship between mono
panned images and stereo ambience through the use of width, depth and
phase controls. Source material may be further manipulated by inserting
external EQ or dynamics processing into the difference channel or by
engaging the simple onboard mid-band EQ.<br>
<br>
Designed with the same half-rack dimensions as the rest of the Portico
range, available in horizontal or vertical formats, and utilizing Mr.
Rupert Neve’s custom transformer designs, the 5014 is a unique addition
to the modern engineer’s palette that brings dimension and life to any
recording.<br>
<br>
<span style="font-weight: bold;">Width</span><br>
When the width circuit is engaged, the stereo signal is split into a
sum and difference network, allowing the width, depth, insert and EQ
controls to be used. The width control enables the user to increase or
decrease the width of a stereo image (wide/mono) and adjust the amount
of ambience inherent in the recording. As the width control is rotated
toward wide, the amount of difference material is boosted, thus
altering the signal that the depth, insert and EQ affect. Conversely,
the stereo field is contracted when rotated to mono, and, if the left
and right channels are highly coherent (i.e. both channels include
closely similar material that is in phase), this mono content is
enhanced. If the phase of one of the input channels is then reversed
the mono content may be virtually eliminated. Because the amount of
effect the width control has is entirely dependent on the amount of
stereo information in the original source material and the interplay
between the 5014’s other controls, listening and experimentation are
essential for the best results.<br>
<br>
<span style="font-weight: bold;">Depth</span><br>
The depth control of the 5014 adjusts the spatial positioning of
elements in the sound stage. A solo instrument or vocal can be placed
up front in a mix and supporting instruments can be pushed back, for
example. In many cases, a center-panned vocalist can be placed forward
in a mix or virtually eliminated without adversely affecting the music
bed. Used in conjunction, the depth and width controls effectively
alter the perceived room ambience and dimension.<br>
<br>
<span style="font-weight: bold;">Difference Channel Insert</span><br>
The difference channel insert and EQ offer new opportunities to
manipulate stereo signals. In mastering use, lead vocals can be brought
up or down in a mix, excessively sibilant overheads can be controlled,
and mixes formerly considered beyond repair can be saved. By inserting
effects such as reverb, additional EQ, compression, or expansion into
the difference channel new creative options for altering ambience and
adding movement to the stereo image are available.<br>
<br>
<span style="font-weight: bold;">Difference Channel EQ</span><br>
The difference channel includes a semi-parametric EQ with frequencies
ranging from 120Hz to 2.4KHz and two selectable Qs that only affect
material panned out of center. This can be very useful for eliminating
room resonance or adding sparkle to ambient material.

Rupert Neve Designs Portico 5014 - Vertical (Demo Deal)
Stereo Field Editor

The <span style="font-weight: bold;">Rupert Neve Portico 5014 Stereo Field Editor </span>introduces an innovative application of well-known techniques that redefines the boundaries and limitations of traditional 2-channel stereo recording and playback. Operating entirely in the analogue domain, the Portico 5014 uses discrete component circuits, comprising a variable sum and difference network with level and phase controls, together with other key features, to affect stereo sources.<br><br>Intended for recording, mixing and mastering applications, the Portico 5014 differentiates between near field (direct) and far field (ambient) sources and allows the manipulation of the relationship between mono panned images and stereo ambience through the use of width, depth and phase controls. Source material may be further manipulated by inserting external EQ or dynamics processing into the difference channel or by engaging the simple onboard mid-band EQ.<br><br>Designed with the same half-rack dimensions as the rest of the Portico range, available in horizontal or vertical formats, and utilizing Mr. Rupert Neve’s custom transformer designs, the 5014 is a unique addition to the modern engineer’s palette that brings dimension and life to any recording.<br><br><span style="font-weight: bold;">Width</span><br>When the width circuit is engaged, the stereo signal is split into a sum and difference network, allowing the width, depth, insert and EQ controls to be used. The width control enables the user to increase or decrease the width of a stereo image (wide/mono) and adjust the amount of ambience inherent in the recording. As the width control is rotated toward wide, the amount of difference material is boosted, thus altering the signal that the depth, insert and EQ affect. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. both channels include closely similar material that is in phase), this mono content is enhanced. If the phase of one of the input channels is then reversed the mono content may be virtually eliminated. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the 5014’s other controls, listening and experimentation are essential for the best results.<br><br><span style="font-weight: bold;">Depth</span><br>The depth control of the 5014 adjusts the spatial positioning of elements in the sound stage. A solo instrument or vocal can be placed up front in a mix and supporting instruments can be pushed back, for example. In many cases, a center-panned vocalist can be placed forward in a mix or virtually eliminated without adversely affecting the music bed. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension.<br><br><span style="font-weight: bold;">Difference Channel Insert</span><br>The difference channel insert and EQ offer new opportunities to manipulate stereo signals. In mastering use, lead vocals can be brought up or down in a mix, excessively sibilant overheads can be controlled, and mixes formerly considered beyond repair can be saved. By inserting effects such as reverb, additional EQ, compression, or expansion into the difference channel new creative options for altering ambience and adding movement to the stereo image are available.<br><br><span style="font-weight: bold;">Difference Channel EQ</span><br>The difference channel includes a semi-parametric EQ with frequencies ranging from 120Hz to 2.4KHz and two selectable Qs that only affect material panned out of center. This can be very useful for eliminating room resonance or adding sparkle to ambient material.

Rupert Neve Designs Portico 5014 Stereo Field Editor - Horizontal
Stereo Field Editor

The <span style="font-weight: bold;">SPL M/S Master</span> is your key 
to access the mid and side information of a mix. Discover the classic 
alternative to the L/R format and adjust the M/S proportions yourself. 
Insert all your outboard gear via intelligent send/returns and use it 
for L/R or M/S processing at the touch of a button.<br><br><span style="font-weight: bold;">The SPL M/S Master Features:</span><br><ul><li>Analog tool for M/S encoding</li><li>Active control of M/S mix ratio</li><li>Seamless integration of external processors</li><li>One-button insertion of outboard gear in the M/S or L/R path</li><li>Different VU-meter modes</li><li>Low cut filter for the Side signal</li><li>FLOAT function for better mono compatibility</li></ul><span style="font-weight: bold;">Specifications:</span><br><br><span style="font-weight: bold;">Inputs & Outputs</span><br>
<ul><li>Electronically balanced instrumentation amplifiers</li><li>Sockets: XLR</li><li>Input impedance: 20 kOhm balanced/10 kOhm unbalanced</li><li>Output impedance: 150 Ohm balanced/75 Ohm unbalanced</li><li>Max. input level: 20 dBu</li><li>Max. output level: 20 dBu</li></ul>
<br><span style="font-weight: bold;">Measurements</span><br>
<ul><li>Frequency response (-3 dB): 10 Hz - 100 kHz</li><li>Common mode rejection ratio: › 60 dB</li><li>(@ 1 kHz, 0 dBu input level and unity gain)</li><li>Total harmonic distortion & noise: 0,007 %</li><li>(@ 1 kHz, 0 dBu input level and unity gain)</li><li>Signal to noise ratio (A-weighted): -82 dB</li><li>Dynamic range (unweighted): 102 dB</li></ul>
<br><span style="font-weight: bold;">Power supply <br></span>

SPL M/S Master
Mastering Processor

The<B> Stereo Vitalizer Mk2</B> is the next generation of Stereo Vitalizer in which we have translated our customers' wishes and demands using our latest knowledge of the Vitalizer-filter network. The result is a totally new circuit design which adds new filters and controls to the existing parameters to fulfil the demands of the rapidly changing recording industry. It is designed for mastering, post production work and sound reinforcement. <BR>
 <BR>
The signal-to-noise ratio has effectively been improved by 8 dB (at full effect), and this is especially beneficial when the Stereo Vitalizer Mk2 is wired between the mixer's output and a power amplifier, as it might be in PA or disco applications. To set the operation level of the filter network more precisely, a Drive control has been added that enables you to set continuously variable levels between -20 dB and +6 dB. A Clip LED illuminates to indicate a potential overload. Another new feature is the integrated compressor, which only works where it is most useful: in the bass range. When recording on digital equipment, it is essential not to overload the inputs of such systems which would otherwise result in invalid samples or digital peaks. As the bass frequencies carry most of the level, it makes a lot of sense to integrate a compressor into the bass path. We designed the compressor as a 'one-knob' solution to make it easy to operate, and a soft-knee characteristic was chosen for unobtrusive operation. The threshold, attack and release are automatically adjusted while the Compression control sets the ratio value. The blue Gain Reduction LED indicates the point at which the compressor starts to operate. The characteristic of the Process control has been changed in order to produce a mid-damping effect that sounds more consistent for the soft as well as the tight bass sound. To freshen up the top-end of a recording, the new High EQ and Intensity controls have been integrated. The High EQ works with steep filters and controlled changes of phase relationships of the high frequencies and harmonics. The Mid-Hi Tune and the High EQ filter complement each other in an ideal fashion, while the Mid-Hi Tune sets the frequency above which the programme material is lifted and below which damping takes place. The High EQ and Intensity controls also extract certain frequencies during this process which is very helpful when you are processing material with lead vocals: Using the Mid-Hi Tune will generally damp some speech frequencies so the voice moves into the mix losing a bit of its presence. Use the High EQ to catch the voice and the Intensity control to bring it back up front. <BR>
 <BR>
The Active function is a relay-switched hard-bypass, which automatically routes the input to the output in the event of a power failure to maintain signal flow. The Stereo Vitalizer Mk2 is equipped with both XLRs & stereo jacks for balanced operation. We use the new SSM precision input & output stages which feature laser-trimmed resistors, providing a common mode rejection of better than 87 dB. Mono-jacks may be used for unbalanced operation without level change!

SPL Stereo Vitalizer MK2
Solid state stereo spread enhancer.

The MK2-T (model 9739) represents the tube version of the best selling Vitalizer model, the Stereo Vitalizer MK2 (model 9526).
<br>The MK2-T employs 12 AX 7 LPS-tubes for the mid-hi processing and in the Stereo Expander circuitry, where the summed signal is processed.Coil filtering stages complement ideally the vintage tube sound characterisitcs.
Great emphasis was laid on a harmonic tuning of the control parameters for high precision processings.
<br>The MK2-T fits into the range of Vitalizer products between the standard Stereo Vitalizer MK2 and the high-end mastering version, the Tube Vitalizer (Model 9530).

<p>The Stereo Vitalizer MK2-T is a program equaliser concept which makes use of scientific psychoacoustic technology to process audio signals. The Vitalizer technology has been constantly improved over the past years.

<p>The Stereo Vitalizer MK2-T is the tube version of the successful Stereo Vitalizer MK2. The 'MK2-T' utilises two 12 AX 7 LPS-double triode tubes. One of them is used within the Mid-Hi Tune filter and gives the mid frequencies even more accurate transparency with a soft, unobtrusive sound. The second tube is used within the Stereo Expander. The stereo image not only gains more width but also more depth, transparency and clarity because of the pleasant tube harmonics.
The treble range is reworked with Coil filtering stages which focus on achieving a smooth, silky sound pattern. High frequencies are livened up extremely noiseless without them sounding hard or aggressive.

<p>As with all Vitalizer models you can choose between a dry, percussive bass (Tight) or a punchy, soft and very deep sound character (Soft). The bass is accentuated without any risk of emphasising the lower mid frequencies unnaturally. An easy to use compressor complements the bass section allowing the correction of level change due to bass processing.

<p>The Stereo Vitalizer MK2-T is especially designed to serve the needs in recording, mastering, cutting and post production work. Used on complete mixes or being inserted into the subgroups to treat specific parts of the mix, the Stereo Vitalizer MK2-T will perform the same task as those esoteric and costly equalisers often used for audio sweetening but with far greater tonal flexibility and at a much lower cost.

<p><b>Applications</b>

<p>1. In Recording Studios, the most popular application is to process a final mix, either while mixing or during post-production prior to cutting. Insert your Stereo Vitalizer MK2-T into the master-inserts of your console or right in between a playback and a recording unit. Although inserting the Stereo Vitalizer MK2-T into the master inserts is the most popular application, we advise to insert the unit into the sub-groups, so that specific elements of the mix are being treated with the Vitalizer process.

<p>When patching the Stereo Vitalizer MK2-T into the sub-groups or master-breaks of the console, note if the master breaks are switched 'pre' or 'post' fader. They should best be switched 'pre' fader, so that a variation of the master fader does not affect the input level of the Stereo Vitalizer MK2-T. The effect level and the treated sound will then remain unchanged. It is important to use full-range monitors to assess the effect of any bass processing in and out of circuit in order to appreciate just how much processing has been added; the brain soon acclimates to changes in timbre and it is easy to overdo it! If in doubt, refer frequently to known recordings played through the same monitor system.

<p>Do not connect the Stereo Vitalizer MK2-T between master-outputs and amplifier. The major disadvantage of this connection is the varying input sensitivity with each fader movement.

SPL Stereo Vitalizer MK2-T
Patented enhancer, tube version, stereo spread

The<span style="font-weight: bold;"> SPL Transpressor</span> is the  first processor that combines the two most important dynamic processing  techniques: compression and level-independent treatment of transients.  By blending these techniques in a single path, SPL aims to void the  previous limitations of dynamic processing.<br><br>The Transpressor is  designed as a single channel unit but you can always couple two in order  to do some stereo processing. Our intent to offer a flexible and  powerful audio processing tool, based on the interaction between  transient processing and compression, is made evident by the freedom to  place the modules in any order in the signal path. That way you can  compress attacks that have been heavily amplified by the Transient  Designer more precisely or enhance the transients once they have been  compressed.<br><br><span style="font-weight: bold;">Specifications: </span><br><br><span style="font-weight: bold;">Inputs & Outputs</span><br>Electronically balanced instrumentation amplifiers<br><ul><li>Inputs: XLR and TRS</li><li>Side Chain: TS</li><li>Outputs: XLR and TRS</li><li>Stereo Link/Slave: RJ 45, for 568 A cable</li><li>Input impedance: 10 kOhm bal., 5 kOhm unbal., Side Chain ca. 80 kOhm</li><li>Output impedance 150 Ohm bal., 75 Ohm unbal.</li><li>Nominal input level: +4 dBu/-10 dBV</li><li>Max. input level 20,5 dBu @ +4 dBu, 13,2 dBu @ -10 dBV</li><li>Max. output level: 21 dBu</li></ul>Input impedance: 10 kOhm bal., 5 kOhm unbal., Side Chain ca. 80 kOhm<br> Output impedance 150 Ohm bal., 75 Ohm unbal.<br> Nominal input level: +4 dBu/-10 dBV<br> Max. input level 20,5 dBu @ +4 dBu, 13,2 dBu @ -10 dBV<br> Max. output level: 21 dBu<br> <br> <span style="font-weight: bold;">Measurements</span><br>Frequency range (-3 dB): 10 Hz - › 200 kHz<br><br>Common mode rejection: › 60 dB<br>(@1 kHz, 0 dBu input level and unity gain)<br><br>Total harmonic distortion: Transient Designer 0,004, Compressor 0,005 <br>(in %, @ 1 kHz, 0 dBu input level and unity gain)<br><br>Signal to noise ratio (A-weighted)<br>Transient Designer: -96,4 dB, Compressor: -96,5 dB, overall: 94,6 dB <br><br>Dynamic range (unweighted)    <br>Transient Designer: 114,5 dB, Compressor: 114,5 dB, overall: 112,5 dB<br><br><span style="font-weight: bold;">Filter</span><br>Low pass 1: 100 Hz, 18 dB/Octave<br>Low pass 2: 540 Hz,18 dB/Okcave<br>Band pass: 800 Hz-3,1 kHz, 12 dB/Octave<br><br><span style="font-weight: bold;">Power Supply</span>   <br>Toroidal transformer<br>Fuses: 230 V AC, 50 Hz: 315 mA, 120 V AC, 60 Hz: 630 mA<br>Voltage selector: 115V/230V<br>Power consumption: 19 VA<br><br><span style="font-weight: bold;">Dimensions and Weight</span><br>Housing (B x H x T): 482 x 88 x 239 mm <br>Depth including controls and sockets: 263 mm<br>Weight: 3,8 kg

SPL Transpressor
Compressor and transient processor

<P>The Finalizer 96K's all new set of advanced features and enhancements, including 96kHz internal and external processing truly puts the world of professional mastering within reach of every studio - large or small. 
<P>Inserted between the stereo output of your mixer or workstation and your master recording media, the Finalizer 96K dramatically rounds out your material, creating that "radio ready" sound - previously unattainable outside a professional mastering house.</P>
<P><B>What does the FInalzer 96K do?<BR></B>When you use the Finalizer 96K you can easily enhance the Dynamics of your mix while you mix. Inserted between the Stereo output of your mixer or DAW and your DAT or CDR, it enhances the dynamics and ensures optimal Analog to Digital conversion.<BR><BR></P>
<P>
<LI><B>Convert:</B> 24bit/96kHz resolution A/D and D/A converters, Format conversion (AES/EBU, S/PDIF and Tos-link) ADAT interface (track bounce) 
<LI><B>Sample Rate Conversion:</B> Enter and exit at any Sample Rate e.g. 32, 44.1, 48, 88.2 and 96kHz and make even asynchronous conversion possible 
<LI><B>Shape:</B> Five band 24bit Stereo Digital Equalizer 
<LI><B>Enhance:</B> Choose between Dynamic EQ, Stereo Adjust, Digital Radiance Generator™ and Spectral Stereo Image 
<LI><B>Normalize:</B> Real-time Gain Maximizer 
<LI><B>Expand:</B> Variable Slope multiband Expander 
<LI><B>Squeeze:</B> Multiband Compressor 
<LI><B>Trim:</B> Variable Ceiling multiband Limiter 
<LI><B>Fade:</B> Manual or Auto Fade Tool 
<LI><B>Dither:</B> Maintain the highest resolution at the digital AES/EBU and S/PDIF outputs, Tos-link and ADAT 
<LI><B>Balance:</B> L/R balance in 0.1dB steps <BR><BR>In short, all the tools you need are provided in the Finalizer 96K and makes it essential in your studio.</LI>

TC Electronic Finalizer 96K
Studio Mastering Processor; EQ, Multiband Comp/Lim/Exp

The Finalizer Express is the fast and efficient way to turn your mix into a Professional Master! Based upon TC's Multi-Award winning Finalizer Mastering Technology, it delivers the finishing touches of clarity, warmth and punch to your mixes, putting the world of professional mastering within your reach.<BR><BR><B>TC Electronic Finalizer Express at a Glance:</B><BR>
<UL>
<LI>Refines your tracks and adds energy without "overs"<BR></LI>
<LI>Tightens bass, improves balance and levels are optimized</LI></UL><BR><B>Refines your tracks and adds energy without "overs"</B><BR>Insert the Finalizer Express between the stereo output of your mixer or workstation and your mastering recording media to refine your tracks with powerful mastering tools, adding real energy to your mix without worrying about "overs".<BR><BR><B>Tightens bass, improves balance and levels are optimized</B><BR>Punch up your mix with the fast intuitive user-interface and deliver the ultimate sound quality you deserve - quick and clean! Spectral balance is improved, bass is tightened, the level is optimized and your mix sounds like a final master! <BR><BR>       <BR><B>TC Electronic Finalizer Express Features:</B><BR>
<UL>
<LI>Bring your mixes to life with TC's unique Multiband Compressor and Limiter algorithms<BR></LI>
<LI>Boost and cut over three bands with the Spectral Balance Controls<BR></LI>
<LI>Prevent "overs" from occurring with Soft Clipping<BR></LI>
<LI>Foresee incoming peaks with Look Ahead Delay, allowing for faster, more accurate response<BR></LI>
<LI>Use the Finalize Matrix for 25 variations in style and rate<BR></LI>
<LI>Optimize your overall level with the Automatic Make-Up Gain<BR></LI>
<LI>Add extra compression in each band by using the Emphasis keys<BR></LI>
<LI>Record your fades from the built in Digital Fader or the optional TC Master Fader via MIDI<BR></LI>
<LI>24-bit resolution A/D & D/A converters<BR></LI>
<LI>16 and 20-bit dithering<BR></LI>
<LI>Industry standard connectivity: AES/EBU, S/PDIF, Optical Toslink and MIDI I/Os<BR></LI>
<LI>High-resolution LED metering of I/O & multi-band gain reduction</LI></UL>

TC Electronic Finalizer Express
Direct Access Mastering Processor, Multiband Compression/Limiting

<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

The <span style="font-weight: bold;">Vertigo Sound VSM-2</span> is a 
creative fully analog Mix and Mastering tool. The VSM offers MS, 
Blending and two sophisticated coloration generators in 2U size.<br>

<br>

The VSM-2 is also available in a “basic version” without harmonic 
generators. This represents a "All In One"-solution for Mastering 
studios with no more need to invest in mastering consoles, switching 
devices, monitor controllers, MS En & de-coders etc.<br>

<br>

Like all Vertigo Sound products, the VSM-2 is manufactured to the 
highest industry standards to guarantee the utmost performance and 
maximum durability.<br>

<br>

<span style="font-weight: bold;">VSM-2 Mix Satellite MK2</span><br>

The VSM-2 Mix Satellite (MK2) now comes with new potentiometers. The 
noise floor is 4dB lower than the already very low noise Mk1 version.<br>

<br>

All controls are stepped excluding 2nd/3rd Drive (Full Version), Mix, level & shape.<br>

<br>

<span style="font-weight: bold;">VSM-2 Unique Features</span><br>

<br>

<span style="font-weight: bold;">VSM-2 Basic:</span><br>

<ul><li>All analog, latency free processing</li><li>Two fully balanced inserts on XLR offering MS En & DE-coding</li><li>Level compensated MS En & DE-coding</li><li>Insert 1 provides Dry-Wet Mix control "Parallel Compression" for 
LR and MS</li><li>Insert 2 provides "M&S Stereo Width" control</li><li>Level compensated AFL Solo for M and S-Signal</li><li>All controls can be easily recalled via stepped controls, pointer 
knobs & fine scales</li><li>Hardwire bypass for all and each processing stage</li><li>Excellent headroom with up to +30dbu at the Ins & Outs</li><li>Level matching of the inputs and outputs</li><li>Fast input and output metering plus various clip leds</li><li>Color coded switch controls for easy intuitive operation</li><li>Superior crafted & anodized front plate in "sun orange" & 
blue metallic silk screen print</li></ul>

<span style="font-weight: bold;">VSM-2 "Full Version" additional 
features:</span><br>

<ul><li>Two independent stereo coloration circuits</li><li>Stereo & M or S Generation of pure 2nd & 3rd harmonics</li><li>Each coloration generator is independently switchable to M, S or 
LR</li><li>Excessive harmonic filtering possibilities for each harmonic 
generator</li><li>RMS LED level control for equal level of harmonic generators</li><li>Unique "Track" mode for processing individual instruments</li><li>Soft & Hard clip switching capability</li></ul>

<span style="font-weight: bold;">The idea behind the VSM-2</span><br>

The VSM-2 a.k.a. Mix Satellite offers plenty of hugely useful functions 
for mixing and mastering in one unit.<br>

<br>

Of course in daily studio life, even in the worst case scenario, you 
won't need all the functions of the VSM-2 at once. Carefully spot the 
problems you want to fix and choose the appropriate processing technique
 of the VSM-2.<br>

<br>

The Mix Satellite allows you to try different processing strategies 
without any loss of time!<br>

<br>

You can switch between conventional Stereo and MS processing within 
seconds or you can blend the Mix with the unprocessed signal by dialing 
only one knob.<br>

<br>

The Solo M&S Function allows you to listen closely to M or S and to 
optimize your processing setting!<br>

<br>

Technical progress and purity of analogue and digital equipment 
effectively removed distortion as a stylistic device from the audio 
engineers' tool repertoire of today.<br>

<br>

The VSM-2 Harmonic generators allow you to colour, saturate, enhance, 
compress, limit or distort your program material! Now you are able to 
put real analog life into "dead sounds" out of the box. All parameters 
to create your own kind of musical coloration are on the hand with the 
Mix Satellite VSM-2!<br>

<br>

<span style="font-weight: bold;">Technical Specifications</span><br>

<ul><li>All Ins & Outs electronically balanced</li><li>Dynamic Range: 128 db</li><li>Frequency response: 10 Hz ... 100 kHz (+- 1 db)</li><li>Max. Output Level: + 30 dBu</li><li>THD at +28dbu <= 0,003%</li><li>Signal to Noise Ratio at + 6 dBu = 104 db (20..20 kHz, unweighted,
 RMS)</li><li>Noise: – 98 dBu (20 Hz – 22 khz – unweighted, RMS) @ 0 db Unity 
Gain</li><li>Power consumption: max  30 Watts </li></ul>

Vertigo Sound VSM-2 Mix Satellite MK2 - Basic
Fully analog Mix and Mastering tool

The <span style="font-weight: bold;">Vertigo Sound VSM-2</span> is a  creative fully analog Mix and Mastering tool. The VSM offers MS,  Blending and two sophisticated coloration generators in 2U size.<br>  <br>  The VSM-2 is also available in a “basic version” without harmonic  generators. This represents a "All In One"-solution for Mastering  studios with no more need to invest in mastering consoles, switching  devices, monitor controllers, MS En & de-coders etc.<br>  <br>  Like all Vertigo Sound products, the VSM-2 is manufactured to the  highest industry standards to guarantee the utmost performance and  maximum durability.<br>  <br>  <span style="font-weight: bold;">VSM-2 Mix Satellite MK2</span><br>  The VSM-2 Mix Satellite (MK2) now comes with new potentiometers. The  noise floor is 4dB lower than the already very low noise Mk1 version.<br>  <br>  All controls are stepped excluding 2nd/3rd Drive (Full Version), Mix, level & shape.<br>  <br>  <span style="font-weight: bold;">VSM-2 Unique Features</span><br>  <br>  <span style="font-weight: bold;">VSM-2 Basic:</span><br>  <ul><li>All analog, latency free processing</li><li>Two fully balanced inserts on XLR offering MS En & DE-coding</li><li>Level compensated MS En & DE-coding</li><li>Insert 1 provides Dry-Wet Mix control "Parallel Compression" for  LR and MS</li><li>Insert 2 provides "M&S Stereo Width" control</li><li>Level compensated AFL Solo for M and S-Signal</li><li>All controls can be easily recalled via stepped controls, pointer  knobs & fine scales</li><li>Hardwire bypass for all and each processing stage</li><li>Excellent headroom with up to +30dbu at the Ins & Outs</li><li>Level matching of the inputs and outputs</li><li>Fast input and output metering plus various clip leds</li><li>Color coded switch controls for easy intuitive operation</li><li>Superior crafted & anodized front plate in "sun orange" &  blue metallic silk screen print</li></ul>  <span style="font-weight: bold;">VSM-2 "Full Version" additional  features:</span><br>  <ul><li>Two independent stereo coloration circuits</li><li>Stereo & M or S Generation of pure 2nd & 3rd harmonics</li><li>Each coloration generator is independently switchable to M, S or  LR</li><li>Excessive harmonic filtering possibilities for each harmonic  generator</li><li>RMS LED level control for equal level of harmonic generators</li><li>Unique "Track" mode for processing individual instruments</li><li>Soft & Hard clip switching capability</li></ul>  <span style="font-weight: bold;">The idea behind the VSM-2</span><br>  The VSM-2 a.k.a. Mix Satellite offers plenty of hugely useful functions  for mixing and mastering in one unit.<br>  <br>  Of course in daily studio life, even in the worst case scenario, you  won't need all the functions of the VSM-2 at once. Carefully spot the  problems you want to fix and choose the appropriate processing technique  of the VSM-2.<br>  <br>  The Mix Satellite allows you to try different processing strategies  without any loss of time!<br>  <br>  You can switch between conventional Stereo and MS processing within  seconds or you can blend the Mix with the unprocessed signal by dialing  only one knob.<br>  <br>  The Solo M&S Function allows you to listen closely to M or S and to  optimize your processing setting!<br>  <br>  Technical progress and purity of analogue and digital equipment  effectively removed distortion as a stylistic device from the audio  engineers' tool repertoire of today.<br>  <br>  The VSM-2 Harmonic generators allow you to colour, saturate, enhance,  compress, limit or distort your program material! Now you are able to  put real analog life into "dead sounds" out of the box. All parameters  to create your own kind of musical coloration are on the hand with the  Mix Satellite VSM-2!<br>  <br>  <span style="font-weight: bold;">Technical Specifications</span><br>  <ul><li>All Ins & Outs electronically balanced</li><li>Dynamic Range: 128 db</li><li>Frequency response: 10 Hz ... 100 kHz (+- 1 db)</li><li>Max. Output Level: + 30 dBu</li><li>THD at +28dbu <= 0,003%</li><li>Signal to Noise Ratio at + 6 dBu = 104 db (20..20 kHz, unweighted,  RMS)</li><li>Noise: – 98 dBu (20 Hz – 22 khz – unweighted, RMS) @ 0 db Unity  Gain</li><li>Power consumption: max  30 Watts </li></ul>

Vertigo Sound VSM-2 Mix Satellite MK2 - Full Version
Fully analog Mix and Mastering tool with 2nd and 3rd harmonic generators

Weiss DNA1
2 Channel Denoiser / Declicker / Ambience Processor

Weiss DNA1 (Demo Deal)
2 Channel Denoiser / Declicker / Ambience Processor

Weiss DNA1-C
2 Channel Declicker / Ambience Processor

Weiss DNA1-K
2 Channel Ambience Processor (K-Stereo, M/S)

Results 1-20 of 21

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