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The Universal Audio UAD-2 QUAD Neve is the ultimate way to add the sound of classic Neve analog equipment to music produced on a Mac or PC. This flagship package features a QUAD-processor PCIe card to “power” the included Neve 88RS Channel Strip, 1073, 1081, and 31102 EQs, and the 33609 Compressor plug-ins — widely regarded as the world’s most authentic Neve emulations. It also includes several of UA’s most popular “analog classic” plug-ins, the LA-2A and 1176 Compressors/Limiters, and the Pultec EQP-1A. The included UAD2 QUAD card provides four times the processing boost of the UAD-2 SOLO, allowing for the largest professional mixes. Better still, it gives users full access to the UAD Powered Plug-Ins library, including some of the best-reviewed plug-ins of all time. Specifically, the UAD-2 QUAD Neve provides access to popular UAD plug-in titles from Manley, Empirical Labs, Roland, BOSS, EMT, Fairchild, Harrison, Helios, Little Labs, Pultec, SPL, Teletronix and more (sold separately). Whether you use Cubase, Nuendo, Logic, Digital Performer or Pro Tools, these UAD-2 plug-ins can inject the character and quality of classic hardware into your mixes, while freeing up your computer’s internal processor for other mixing duties. Mac- and Windows-compatible, with support for VST, Audio Units and RTAS, the UAD-2 QUAD Neve is easy to use. Just install the software, install the card, and start mixing. Developed by the industry’s finest engineering team, and backed by frequent new software and plug-in releases, the UAD-2 is the processing platform of choice for many of the world's top musicians, producers and engineers. Key Features <ul><li>Flagship quad-processor DSP accelerator for running UAD Powered Plug-Ins on Mac or PC</li><li>Includes Neve 88RS Channel Strip, Neve 1073 EQ, Neve 1081 EQ, Neve 31102 EQ EQs, and Neve 33609 Compressor plug-ins</li><li>Includes “Analog Classics” plug-in bundle, featuring LA-2A Classic Audio Leveler, 1176LN/SE Classic Limiting Amplifiers, Pultec EQP-1A and Realverb Pro plug-ins.</li><li>Access the complete UAD Powered Plug-Ins library, including: Manley, Empirical Labs, Roland, BOSS, EMT, Fairchild, Harrison, Helios, Little Labs, Pultec, SPL, Teletronix and more (sold separately).</li><li>Run complex, professional mix processing in Pro Tools, Logic, Cubase, Nuendo, Digital Performer and more — without taxing host computer CPU</li><li>Free UAD software upgrades, plus access to more plug-ins at UA’s Online Store</li><li>High-bandwidth PCIe card w/ (4) Analog Devices SHARC floating-point processors</li><li>VST, AU, RTAS support; Mac OS X Tiger/Leopard/Snow Leopard and Windows XP/Vista/7 compatible</li><li>Use up to 4 UAD-2(s) in one system; can be combined with UAD-1 cards</li><li>Includes $100 voucher for plug-in purchases via UA’s Online Store</li><li>1-year Limited Warranty</li></ul>

Universal Audio UAD-2 Quad Neve DSP Accelerator Card

The Lexicon PCM Native Reverb Plugin Bundle is the result of several years of research and significant advances in computer processing speeds, that have enabled Lexicon to provide seven legendary Lexicon reverb algorithms with the original hardware levels of sonic quality and function, as native plugins.  The plugins can be used within popular DAWs such as Pro Tools and Logic, as well as with any other VST, Audio Unit, or RTAS compatible host. The bundle includes unique plugin for each algorithm, including vintage plate, plate, hall, room, random hall, concert hall and chamber, with hundreds of versatile and finely crafted studio presets including recognizable classics from Lexicon’s substantial library of sounds. Librarian functionality allows the user the option to take an available preset, adjust the parameters, compare it to the original and then return to the edited preset. Presets can also be saved off in a DAW independent file format allowing a user to easily move custom presets to any DAW. Features at a Glance <ul><li>PCM Reverb Plug-In 7 Algorithms</li><li>7 legendary Lexicon Reverbs</li><li>Hundreds of brilliantly crafted studio presets</li><li>Multi-platform compatibility (Windows XP, Vista, and 7; Mac OSX 10.4, 10.5, 10.6, PowerPC and Intel)</li><li>Formats that work seamlessly in any VST, Audio Unit, or RTAS compatible DAW</li><li>Graphical real-time display illustrating the frequency stages of each algorithm</li><li>Visual EQ section for easy adjustment of both early and late reflections</li><li>Presets can be stored in a DAW independent format which allows custom presets to be transferred between any DAWs.</li><li>Full parameter control and automation</li><li>Input and output meters for quick assessment of audio levels going to and from the reverb</li><li>iLok authorized</li></ul> Each reverb algorithm can be run in mono, stereo or a combination of the two. The user interface features a ‘pro or go’ mode which enables the user to easily access nine of the most logical parameters for customization, but also provides the ability to transition deeper into the algorithm to edit the full matrix of parameters. Input and output meters allow a user to quickly assess the audio levels going to and from each algorithm, while the eq section makes it possible to visually dial in the eq settings for both the early and late reflections of the algorithm. Each algorithm is complemented with three different real time displays providing graphical insight into what is happening inside the different frequency stages of the reverbs. The PCM Native reverb plugin bundle is a fully functional cross-platform program that is compatible with Windows XP, Vista, and 7 along with MAC OSX 10.4, 10.5, 10.6, Power PC and Intel based. The bundle is native only, and requires iLok authorization.

Lexicon PCM Native Reverb Plugin Bundle

The Sennheiser MD 421 II continues the tradition of the MD 421 which has been one of Sennheiser's most popular dynamic mics for over 35 years. The large diaphragm, dynamic element handles high sound pressure levels, making it a natural for recording guitars and drums. The MD 421's full-bodied cardioid pattern, and five-position bass control make it an excellent choice for most instruments, as well as group vocals, or radio broadcast announcers. One listen and you'll know why it's a classic. Features <ul><li>Glass composite housing and hardened stainless steel basket—rugged and durable </li><li>Five position bass roll-off switch—compensates for proximity effect </li><li>Effective feedback rejection </li><li>Clear sound reproduction </li><li>Easy handling due to pronounced directivity </li><li>Acoustic components enclosed in inner chasis—reduced sensitivity to dust and humidity </li><li>Internal bass tubes—accurate low end response </li><li>Handles exceptionally high sound pressure</li></ul>

Sennheiser MD 421 II

Following in the footsteps of the MicroMain27, the new MicroMain35 brings revolutionary Barefoot three-way technology into an even more compact enclosure. Dual force canceling 7" subwoofers, a 5" midbass driver and 1" dome tweeter are fused seamlessly into a single source. In just a few years Barefoot Sound has built a reputation for groundbreaking technological innovation executed with uncompromising quality and performance. Barefoot monitors are known for delivering a legendary combination of deep sonic clarity and effortless translation. The MM35 lives up to everything you would expect from a Barefoot. Specifications <ul><li>Description three-way active monitor with integral subs </li><li>Controls: input level attenuator, Twt/Mid/Sub amplifier mutes, crossover voicing select </li><li>Input impedance 50k Ohm </li><li>Frequency response 35Hz - 30kHz (+/- 3 dB), 37Hz - 20kHz (+/- 1.5 dB) </li><li>Bass Response -3dB @ 35Hz, Q = 0.707, Slope = 12 dB/octave </li><li>Cabinet 19 liters total internal volume, sealed sub enclosure, sealed midbass enclosure, machined aluminum front baffle plate </li><li>Crossover frequencies 100/2500 Hz </li><li>Tweeter 1" soft dome, rear waveguide chamber </li><li>Power: 50 W </li><li>Midbass 5" poly cone, sealed rear waveguide enclosure Power: 100 W </li><li>Dual subwoofers 7" aluminum cones, 3/4" peak-to-peak linear excursion </li><li>Power: 200 W </li><li>AC power input nominal 115 VAC or 230 VAC </li><li>Power consumption idle 20W, maximum: 375W </li><li>Speaker weight: 42 lbs each (19 kg) </li><li>Shipping weight: 55 lbs each (25 kg) </li><li>Dimensions HxWxD 14.5 x 9.5 x 14.75 inches (368 x 241 x 375 mm)</li></ul> *Note* The MM35 has a universal mains input, enabling it to operate at voltages between 100VAC and 240VAC with no switching required.

Barefoot Sound MicroMain35 - Pair

Chandler's newest series of units starts off with the GERMANIUM pre amp. A completely new design by Chandler Limited designer Wade Goeke that uses classic germanium transistors in all class A, transformer balanced, circuits. The use of germanium devices opens a whole new sound palate not found in any pro audio equipment currently manufactured. These incredibly smooth sounding transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI ( TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium tranasistor. The GERMANIUM series runs on +40 volt power, high current, and has a huge +34 output before clipping. The sound is warm and smooth as with many vintage style circuits, but you'll find a whole new world of smooth here as well as a sound that settles in perfectly to your tracks without fighting. Add these new circuits to Chandler's new transformer line that combines the best parts of our favorite trannies, St Ives and Gardners, into new great sounding input and output transformers.

Chandler Germanium Mic Pre

The Great River 32EQ is a new 500-series version of the EQ and filters from the renowned Harrison 32 Series consoles. The 32EQ incorporates the original specifications and with support directly from the original designers at Harrison Consoles it is guaranteed that the prized characteristics of the original were maintained in the new design. The 32EQ has the full features of the 32-series EQ <ul><li>Low, Low-Mid, Hi-Mid, and High EQ bands with Gain and Frequency controls</li><li>Low and High Band “peaking” switches</li><li>EQ in/out switch</li><li>Harrison’s renowned High- and Low-pass filters with sweepable frequency</li><li>Filter in/out switch</li></ul> An internal jumper provides selection of the “vintage” feedback design, or a non-feedback option. The Harrison 32-Series console was the world’s first 32-bus “inline” recording consoles. They became a staple among recording studios and were the basis for many console designs (Harrison and otherwise) that followed. Countless hit records were produced on Harrison consoles during the birth of modern pop productions, including Abba, Sade, Queen, Janet Jackson and Michael Jackson. The 32C console was used by Bruce Swedien in the recording and mixing of Michael Jackson’s Thriller, the best-selling album of all time. Gary Thielman said, “For many years, Harrison has had requests for our prized analog products in a smaller form-factor. During that time, we kept hearing great things about Dan Kennedy and Great River Electronics. Their products are superbly made and they are as fanatically supportive towards their customers as we are to our own. We realized that we had an opportunity to launch a product that the world has been requesting, while continuing forward with our passion which is building large-format consoles.” Like all Great River and Harrison products, the 32EQ is designed and built in the USA.

Great River / Harrison 32EQ

The original Helios Type 69 mic pre/EQ, designed by Dick Swettenham, was "The Sound of Olympic Studios", the legendary recording studio used by Led Zeppelin, The Rolling Stones, The Who, The Faces, Humble Pie and Bad Company to name a few. The Helios Type 69-500 holds true to the original Dick Swettenham design, but with a number of modern updates such as 5db steps on the mic preamp gain switch as opposed to the original 10db steps, additional 16khz EQ frequency selection for today's high-bandwidth digital recordings, and a balanced output for easy interfacing with any digital converter.

Helios Type 69-500

For recording and mixing engineers, the greatest challenge will always be to capture and transform disparate 2-D elements into an engrossing 3-D vision that elicits the same raw emotions and compelling vibrance as the live performance. In designing the Rupert Neve Portico II Channel Strip, every possible attention has been paid towards not only producing the most accurate, sweet sounding audio topologies, but also enabling engineers to boldly shape or fine tune tracks to the limit of their imaginations. A self-powered 2U channel module comprised of a fully- featured mic preamplifier, 4-band EQ, compressor-limiter, “texture”control and level metering, The Portico II Channel includes a bevy of new features including: Variable Silk / Silk+ Texture control, a fully tunable “de-esser”, multiple VCA filtering and detection options, a transient-optimized swept HPF and parallel compression blending. With its simple yet powerful topologies and extensive feature set, every element of the Portico II: Channel is geared towards empowering recording artists to realize these visions. Input Section Input signals may be derived from any of three sources; Microphone, Line or DI. The Microphone input has a 10K Ω non-reactive input resistance that handles a full 26dBu signal without the need for a pad. A primary Gain control provides 66dB of gain in 6dB increments for easy recall with a +/- 6dB Trim for fine adjustment. A transient-optimized HPF continuously covering the range from 20-250Hz is included. In addition the usual 48V Phantom Power switch, Phase Inversion, Signal Present indicator and a Mute switch are included. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability and which maintains a 2 dB noise figure over a wide range. Inserting a plug into the DI input, selects a 3M Ω Discrete FET DI circuit that includes the transformer-coupled pristine topography that optimizes both the microphone and DI inputs, allowing low impedance microphones and high impedance sources like electric guitars and basses to deliver their optimum performance. Primary Gain and Trim controls are fully operational. A “Thru” jack on the front panel that duplicates the unaffected source signal allows the use of an external amplifier if required. A “Line” switch selects the independent Line XLR non-reactive input circuit that includes the HPF and Level trim controls. Texture One of the key developments in the Portico II is the new Texture section. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing countless tonal options in one device. The texture section features distinct modes, controlled by a potentiometer from barely audible to dramatic!. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer. Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. “Silk +” mode pushes this technique still further, achieving a more harmonically rich sound. Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble vintage designs by Mr. Rupert Neve. Velvet mode pushes this technique further, by increasing saturation on the output transformer to achieve a more colored sound. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer. Equalizer The EQ topologies in the 4-Band Equalizer of the Portico II combine the best-loved sound of several classic designs, but are also capable of extremely fine surgical adjustments as well as dramatic boosts or cuts. By default, the EQ section follows the mic preamplifier and HPF, and precedes the compressor, but this sequence may be reversed by engaging the Post Comp switch The Low Shelf has an independent engage switch, Classic Peak/ Accelerated Shelf selection, with +/- 12dB level adjustment, and selectable turnover frequencies of 35, 60, 100, and 220 Hz. The Fully Parametric LMF and HMF bands have a joint engage switch, providing +/- 12dB level adjustment, continuously variable “Q” from 0.7 to 5 and continuously variable frequency ranges from 70 to 1.4KHz and 700Hz to 14KHz. In addition to its standard capabilities, the HMF band can also be used to precisely tune a new De-Esser circuit. The De-Esser can be varied from off to full effect, and uses the Frequency, and “Q” controls to tame harsh sibilance in vocals and instruments with an independent high-mid limiter. Even when the De-Esser is on, the EQ level may still be used. The High Frequency shelf has independent engage switch, Classic Peak/ Accelerated Shelf selection, +/- 12dB level adjustment, and selectable turnover frequencies of 4.7, 6.8, 12, and 25kHz. When two Portico II Channels are used side by side, the EQ section can also excel at stereo material. Compressor A further array of tools are used to craft dynamic response. The Portico II’s compressor section is exceptionally flexible. Like the Portico 5043, the compressor a choice of Forward Feed / Return Feed modes, either providing a transparent modern response, or a smoother more musical vintage response. Along with FF/FB modes, there are also 1:1 to 40:1 ratio controls and threshold from -30dBu to +20dBu, together with Attack from 20 to 75ms (.1 ms in fast mode), Release from 100ms to 2.5s, and Make up gain from 0 to 20dB with a Stereo Link. The Portico II compressor however incorporates a number of new ways to tame or enhance dynamics. HPF to SC inserts the High Pass Filter into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. The “Fast” switch alters the compressor’s attack to react to transients with a roughly .1ms response time. When “fast” is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. “Blend” works by creating a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements. To further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal under another. (for instance, a voice-over keying the compressor to duck a background music track). By connecting the “link” jack on the back of the Portico II to another Portico II link jack and engaging the Link buttons, the compressor section may be used for stereo material.

Rupert Neve Designs Portico II Channel Strip

The Mytek 8X192 AD/DA offers PCM A/D and D/A conversion for all sampling rates from 44.1k to 192k. Optional DSD firmware provides DSD (standard 64x) and hi-speed 128x DSD. In addition to analog-digital-analog conversion 8X192 features the following: <ol><li>Digital format conversion between AES and any of two optional DIO Cards installed </li><li>True precision mastering grade 1dB per step stepped attenuator </li><li>Analog mix buss assignable to 4 pairs of stereo channels or 8 mono channels </li><li>Additional to 8 analog outputs, 2 XLR outputs which can be assigned to any pair of channels or Mix Buss output </li><li>Hi-current (500mA), hi-speed, low distortion transparent headphone amplifier </li></ol>

Mytek Digital 8X192 ADDA

The center of your scalable studio Built from the same SuperAnalogue™ DNA as the AWS 900+, Duality and Matrix consoles, Solid State Logic is proud to deliver the X-Desk. Meeting the demand for a world class, compact SSL mixing desk, X-Desk combines a 16 channel SSL SuperAnalogue™ summing mixer with a compact analogue audio hub for your studio. Small enough to be easily transported, X-Desk fulfills all the essentials of the audio mixing process, with typical SSL attention to detail and depth, including smooth 100mm faders, comprehensive artist & studio monitoring with Dim & Cut buttons, Stereo and Mono Aux sends, channel and Master Bus Inserts and accurate bar graph level metering. For easy integration into your existing studio, X-Desk can be used as an elegant and and ergonomically refined desktop mixer with removable rack ears for standard 19" rack mounting (7U space required). Like all Solid State Logic SuperAnalogue™ products, it is extremely robust, hand-built in the UK with an all metal chassis and high quality controls and components. Up to eight X-Desks or X-Desk & X-Rack combinations can be cascaded via D-Sub connection to expand up to 160 inputs on mixdown. X-Desk brings benchmark audio performance to the compact mixer format. Key Features <ul><li>SuperAnalogue™ – analogue purity at the highest level</li><li>8x dual input Mono Line channels : 16 channel mixdown</li><li>8x Insert Send/Returns on channels</li><li>Stereo CUE and 2 Mono Auxiliary Sends</li><li>Cascade with X-Rack and other X-Desks for bigger systems</li><li>Talkback – for artist communication</li><li>Dim & Cut buttons</li><li>Independent Main and Alternate stereo monitor outputs</li><li>SSL Stereo Mix Bus with External summing and Inserts</li><li>2x Stereo Returns with Level, Pan and Bus assignment</li><li>iJack front panel input for portable playback devices</li><li>High quality internal PSU</li><li>D-Sub Channel I/O connection for studio integration</li><li>19" Rack mount ears included</li></ul>

SSL X-Desk SuperAnalogue Mixer

Occupying a special place in the imagination of engineers and producers, the Neve 1084 delivers an incredibly fat, smooth sound. While the 1084 builds on the same basic design of the world-famous 1073, it offers a significantly different palette of frequency selections. The 1084 also features a "Q" switch, allowing the user to choose between two different Q types, either narrow or wide with respect to the parametric band. These added features and the 1084’s extended versatility make it a preference over the 1073. The 1084’s three EQ bands provide selectable frequency, with cut and boost capability, and a mid-frequency band which benefits from a High Q Presence switch. The high pass filter can be switched between 45Hz, 70Hz, 160Hz & 360Hz, and the low pass filter between 6kHz, 8kHz, 10kHz, 14kHz, & 18kHz. Both boast 18dB per octave slopes. Handcrafted and completely hand wired in Burnley, UK by Neve’s dedicated professionals, the 1084 reissue has been reproduced to the exact specifications of the original modules. Where innovation has improved on previous technology, Neve has welcomed such improvements. However, not all things lend themselves to enhancement. Example: audio transformers. While other manufacturers use replacements, AMS Neve alone has access to the original hand-wound transformers. This is an important factor when you consider that an analogue preamp is only as good as its transformer. That is why only a Neve sounds like a Neve. All Neve mic preamplifiers are designed to accept signals from a wide range of microphone and line sources. Uncompromisingly low noise and distortion with generous overload performance are noteworthy hallmarks of all Neve products. Highlights<ul><li>Classic Neve transformer mic preamplifier with wide range of equaliser settings</li><li>Choice of "Standard" or "Air Studio" preamp modules</li><li>3 switchable EQ bands</li><li>Hand crafted and tested precisely to original 1970 design</li><li>HP and LP filters with High Q setting</li><li>Transformer-balanced and earth free inputs and outputs</li><li>Output: Maximum output >+26dBu into 600 ohms. Output impedance is 75 ohms @1kHz.</li><li>Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output</li><li>Freq. Response: +/-0.5dB 20Hz to 20kHz, -3dB at 40kHz. EQ Out.</li><li>Noise: Not more than -83dBu at all Line gain settings EQ In/Out</li></ul>The 1084 can be purchased as single or multiple units. Each 1084 module has been designed to perfectly retrofit into the 80 Series Neve Classic consoles as part of a channel strip or can be mounted in a custom rack. The available rack sizes are 3U (which accommodates 2 modules horizontally) or 5U (which accommodates 8 modules vertically). Neve "Classic" Outboard - Genuine Neve product hand built in UK using all of the original components, nothing new in 30 years

Neve 1084 CV

Hand-built in Burnley, England to its original 1970’s specifications, the Neve 33609 Stereo Compressor offers comprehensive limiting and compression facilities for music recording, mastering, post production and broadcast applications. The 33609’s combination of hand-wired transformers and gain reduction circuitry produces a sound quality which is often duplicated, yet seldom achieved by any other compressor / limiter. Coupled with the unit’s unparalleled ease of use, this inimitable sound quality has made the 33609 a worldwide studio standard for three decades. The hallmark 33609 compression sound is very smooth, and extreme settings may be used with the compression or limiting remaining transparent. Two versions of this compressor are available, the 33609J and the 33609JD. Both units offer the legendary Neve sound, with enhanced internal and external I/O switching compared to the original model. The only difference between the units is that the 33609JD utilizes a discrete output stage for a slightly warmer sound that is preferred by some professionals. Multiple units can be easily linked for multi-channel operation. The 33609 features independent sidechains for the compressor and limiter sections, with similarly independent threshold, recovery and attack controls. The compressor features a selection of ratios from 1.5:1 to 6:1 and a gain make-up control that comes before the limiter. Overall gain reduction is indicated on a moving coil meter. Much like the classic 1073 and 1081 microphone preamplifiers, the 33609 Stereo Compressor is often cited as a “desert island” compressor—one which a healthy sampling of the world’s top engineers and producers would choose above all others. Heritage The 33609 is based on the classic 2254 Limiter/Compressor, introduced by Neve in 1969. The 33609J uses circuitry similar to the classic 33609C. The 33609/JD, on the other hand, incorporates a 340 discreet output stage as used in the original 33609 design. Neve 33609 JD Overview<UL> <LI>Classic Stereo Compressor / Limiter designed to exacting 1970’s specifications <LI>Hand-made using hand-wired Neve transformers in Burnley, England <LI>Classic 2254 feedback compression circuitry <LI>Discrete output stage for warm, full sound <LI>Brick Wall Limiting <LI>Transparent level control <LI>Perfect for mixing, broadcast, and mastering applications <LI>Hard Limit feature for digital recording <LI>Limit in/out Compress in/out</UL> Neve "Classic" Outboard - Genuine Neve product hand built in UK using all of the original components, nothing new in 30 years

Neve 33609 J/D Stereo Compressor

Vintage Tube Amplifiers and Custom-Designed Transformers set the soundstage. True Passive Equalization creates Bountiful and Musical Equalization curves. The new RETRO 2A3 is designed as an ultra High-Fidelity Program Equalizer whose sonic benefits go beyond the equalization process. Accurate to the industry-standard Pultec EQ performance, the RETRO 2A3 adds HF boost frequencies in several new sweet spots. Carefully implemented HF boost circuits capture the signature sound of the original passive equalizers. Use these settings to make individual tracks fit in place. Make a vocal shine and add distinct presence. There are many satisfying applications, most notably the stereo mix buss. A new Subsonic Filter allows you to do peaking low frequency boosts that tame the excessive subsonic energy exhibited in the original design if that’s what you want. Utilizing the interstage transformer, the filter not only reduces the subsonic energy but also provides distinct transformer tonal characteristics for tracking and mixing. The filter has settings of 40 and 90 Hz with a peaking response and sharp cutoff. The 40 Hz setting has no apparent loss of lows as it adds excitement to the 35-40 Hz region that is golden in many listening environments. The smoothing effect is pleasantly apparent throughout the midrange. It is easily switched-out for applications that require tight, accurate low frequency response. In consideration of the limited real estate in your rack, the RETRO 2A3 packs two EQ channels into one 2U space with surprising freedom of movement, ease of adjustment and familiarity. Use the two channels for stereo, separately on independent tracks or cascaded for extended equalization possibilities. The channel separation exceeds 70 dB. The RETRO 2A3 passive equalizer circuits do not rely on amplifier feedback, which can cause a harsh and clinical sound in typical active equalizer designs. By incorporating pure passive Capacitor - Inductor based equalization; the RETRO 2A3 sounds so natural and effortless even with extreme boosts and cuts. We also gave special attention to the Pultec-style bass boost/bass cut method that is essential to a powerful bass and kick drum EQ. This involves simultaneous low frequency boosts and lower-mid cuts that can scoop out the mud and add real punch. Quite simply, there are benefits to having the RETRO 2A3 in line without even equalizing, as the tube amplification has it’s own unique musicality. The RETRO 2A3 Dual Channel Tube Program Equalizer provides a very useful palette of colors and textures ready for tracking, mixing and mastering. Features <ul><li>Industry-standard Passive EQ with authentic feel, controls and equalization curves</li><li>Additional HF Boost Frequencies for more precise control</li><li>Easily recallable 100-position knob scales on boost and cut controls </li><li>A ganged interstage-coupled Subsonic High-Pass Filter provides Peaking LF Boosts with alternate tonal characteristics </li><li>Transformer Balanced and fully-floating 600 Ohm Input and Output to eliminate ground-induced hum and noise</li><li>LF Boost Settings of 20, 30, 60 and 100 Hz </li><li>Complementary LF Cut settings of 20, 30, 60 and 100 Hz</li><li>HF Boost Settings of 1.5 kHz, 3 kHz, 4 kHz, 5 kHz, 6 kHz, 8 kHz, 10 kHz, 12 kHz, 14 kHz and 16 kHz</li><li>Complementary HF Cut Settings of 5 kHz, 10 kHz and 20 kHz</li><li>Vintage Class AB tube amplification for unity-gain make-up</li><li>Equalization Bypass Switches</li><li>Size 2U Height: 19" wide x 3.5" tall x 9" deep</li><li>XLR input and output connections</li><li>IEC power connector</li><li>115/230V 50-60 Hz Switchable AC Mains</li><li>Uses readily available 12AX7(2) and 12AU7(2) electron tubes</li><li>Tube substitutions are possible with internal unity gain calibration and jumper selectable 6 or 12 volt tube configuration </li><li>Design minimizes tube heat generation</li><li>High stability components used throughout</li><li>Steel Chassis built to last </li><li>Manufactured in the USA </li><li>Full factory support</li></ul> Specifications for the Retro 2A3 include: <ul><li>Signal to noise ratio of greater than 76dB</li><li>Channel Separation greater than 70 dB</li><li>Frequency response is flat within 1 dB from 20 Hz-20,000 Hz</li><li>Harmonic Distortion is less than 1% from 20 Hz-20,000 Hz</li></ul>

Retro Instruments 2A3

The Mono is the single channel API 500 series version of the GAMA (Golden Age Microphone Amp), with all the capabilities, features, and quality of the original. The Shadow Hills Mono Gama is centered around our custom discrete op-amp. This no-compromise design exudes hugeness, fidelity, punchiness and depth, across the full frequency range, without becoming veiled or choked. The preamplifier input is transformer balanced and utilizes an original Jensen input transformer. We couldn't decide which vintage output transformer we liked best, so we had our favorites perfectly recreated, and included them all. You can change the output transformer by cranking the knob, thus changing the tonal capabilities to compliment to whatever material you are recording. This allows you to audition different settings to find the perfect match for microphone or direct input without patching and un-patching other preamps, and possibly alleviating the need for EQ. Choose between Nickel, Discrete, or Steel settings. Each transformer position is stellar unto itself, but the capability of switching between them is like having three great pre's in one. All the standard Mic-pre features are present: phantom power, phase reverse, a twenty dB pad, and direct input. We have also included the ability to pad and reverse the phase of the Direct Input. Quality is unmatched. Engraved front panels, a twenty four position Swiss-made attenuator for gain control, custom made knobs, and engraved serial number plates, set the build apart. Features <ul> <li>Superb sound quality and character </li><li>Switchable output transformers </li><li>Stepped attenuator for gain control </li><li>Phase reversible and paddable DI </li><li>Engraved front panels </li><li>75 ma current draw per module </li></ul>

Shadow Hills Industries Mono GAMA Mic Pre

The single rack unit Lexicon PCM92 employs the latest DSP technology and a collection of classic Lexicon algorithms to provide an all-in-one processor for live and studio applications, delivering 28 mono and stereo reverbs, delays, and modulation effects, flexible routing configurations, and a comprehensive library of over 700 factory presets. Lexicon claims that the PCM92 represents the most advanced audio processor in its class. The PCM92’s capabilities over traditional reverbs are made possible by the adding of multimode filters in the audio flow, which allows for exact shaping of the reverb while still maintaining the distinctive Lexicon Sound. All reverbs have an infinite switch that allows the reverb to run forever, which is useful for creating unusual backgrounds and sound effects. The Lexicon Room algorithm provides a more flexible alternative to convolution type reverbs. Reflection patterns can be easily selected, scaled and equalised, all while simultaneously passing audio, and the room size can be instantly changed or reversed. The Room algorithm provides the realism of the actual space with the precise control and manipulation that is made possible by a reverb synthesizer. With two channels of balanced XLR or quarter-inch analog I/O and two channels of XLR AES/EBU digital I/O, along with MIDI, wordclock, and ethernet, the PCM92 integrates easily with any DAW and features 24-bit A/D-D/A conversion and 44.1 to 96 kHz sample rates. To supplement front panel navigation for live applications, the PCM92 can be configured and fully controlled remotely through Harman HiQnet System Architect. The foot switch and foot controller inputs offer additional flexibility for the live performer. The Lexicon PCM92 Stereo Reverb/Effects feature set includes: <ul><li>Lexicon® studio-standard reverbs, delays, and modulation effects</li><li>Comprehensive library of over 700 finely crafted factory presets, including recognizable classics from Lexicon’s immense library of sounds</li><li>Lexicon’s flexible Room algorithm used to generate a vast array of room-related effects for music and post</li><li>Multi-voice pitch shift to enhance vocals</li><li>Mono and stereo versions of all algorithms</li><li>Full system configuration and control with HiQnet System Architect™</li><li>44.1 to 96 kHz sample rate, 32-bit floating point processing</li><li>Two channels balanced analog I/O (XLR and ¼”)</li><li>Two channels XLR digital AES/EBU I/O</li><li>External BNC Wordclock</li><li>MIDI in, out, and thru</li><li>Ethernet connectivity</li><li>Foot controller inputs make it easy to change presets and adjust parameters during live performances</li><li>High-resolution OLED display is easy to read in all light conditions</li></ul>

Lexicon PCM92

Presenting the Grace Design m501, our 500 series module version of the venerable m101 mic preamplifier. Now the signature transparency and detail of our circuit designs is available for your 500 series frame. While the 500 series market has plenty of colored mic preamplifier options, the natural, musical clarity of the m501 makes it a welcome addition to the field. This circuit is for engineers confident with the quality of the source, mic section and placement, and wish to capture it with as little coloration or distortion as possible. The m501 module is a balanced, transformerles design, with 48V phantom, a 75Hz HPF and a 1/4” HI-Z instrument input. Also standard is our exclusive ribbon mic mode, which raises the mic input impedance, bypasses the input decoupling capacitors and deactivates 48V phantom to protect delicate ribbon mics from damage. Large diaphragm, vintage ribbon or trusty dynamic - the m501 brings out the very best in any microphone and takes the guesswork out of your input chain. Features <ul><li>Fast and musical transimpedance architecture</li><li>Precision audio path with 0.5% precision metal film resistors</li><li>New 12 position gold plated rotary gain switch</li><li>High performance output line driver amplifier and HPF amplifier</li><li>New Ribbon mic mode (also great for dynamic mics) - Relay bypass of phantom power decoupling capacitors, increased input impedance, and 48V lockout</li><li>Wide 10-75dB gain range</li><li>Enhanced RFI interference suppression</li><li>Three output connectors: XLR balanced, TRS balanced and ¼” unbalanced</li><li>Bombproof laser-etched black anodized frontpanel</li><li>Sealed gold contact relay for Hi-Z input switching</li><li>Led indicators for +48V, Ribbon mode, and HPF</li><li>Five year warranty on parts and labor</li><li>Made in the USA</li></ul>

Grace Design m501

The Shadow Hills Dual Vandergraph is a direct descendant of the Shadow Hills Mastering Compressor and maintains its reputation of unquestionable quality and exceptional performance. It’s inner workings are developed from the discrete gain cells of the Mastering Compressor which are combined with the Optograph’s extremely flexible Sidechain Filter matrix. This combination provides great possibilities for new recording techniques and the dynamic control. This stereo compressor’s fully discrete audio path is Class-A and features Shadow Hills' custom Iron Transformers. The controls are: Ratio, Filter, Compression and Output Level. Just like the Mastering Compressor, the Compression and Output Level controls are Swiss made twenty-four position attenuators. The Ratio switch, selects between: 1.2: 1, 2.5: 1, 4: 1, 8: 1. In addition to changing ratios, each selection changes preset attack and recover times. The Sidechain Filter Matrix controls the frequency sensitivity of the side-chain. The positions are: 90 hertz, 150 hertz, 250 hertz and Bandpass. <ul><li>Input impedance 20k</li><li>Minimum load impedance 600 ohms</li><li>Stereo</li><li>Fully Class-A </li><li>Discrete audio path </li><li>Discrete gain cells from Mastering Compressor</li><li>Sidechain Filter Matrix from Optograph</li><li>Swiss made discrete attenuators</li><li>Military Spec build quality</li><li>Meets the specifications of the VPR Alliance</li></ul>There is no limit to the number of Dual Vandergraphs that can fit into any 500 series rack.

Shadow Hills Industries Dual Vandergraph

After some requests from audio engineers, the Avedis Audio MA5 was created for the need of a high quality microphone preamplifier in the characteristic sound of early 70's British consoles. The re-engineering in the creation of the MA5 stemmed from years of experience restoring both American and British modules, deeply rooted in classic transformer-balanced, discrete electronics. Only the best and most suitable components are used throughout, regardless of cost, to attain the best sound. Much time was spent on the MA5, not only on the engineering side of the design, but also to extensive sound evaluations in observation of specific settings, gain structures, and key components spanning a time frame of a little over a year. We have always believed that even with some of the best audio test analyzers we own and use, our ears' sensitivity, coupled with good judgement of sound through experience, is still unparalleled. In the end, it is our ears we are trying to satisfy. Features<ul><li>Standard 500 series modular size 1.5" x 5.25" </li><li>Single-ended Class A amplifier </li><li>UK made input transformer </li><li>Custom designed Jensen output transformer </li><li>Stepped gain rotary switch in 5dB steps </li><li>Output level pot for trim and mute </li><li>LED lit pushbuttons </li><li>Special 28kHz button </li><li>Custom made Marconi style knobs </li><li>High headroom & CMR, Low noise design </li><li>140ma current draw total, 70ma per rail </li></ul>

Avedis Audio Electronics MA5 Microphone Pre

The BAE (formerly Brent Averill Enterprises) 1073MPF is basically a deluxe 1073MP. lt has all the same qualities as the 1073MP with one added feature, a high pass filter. We integrated the same inductor based high pass filter that's in the 1073 and added it here to the 1073MPF. <ol> <li>Phase reverse button</li> <li>Impedance select between 1200 and 300 ohms</li> <li>Direct input switch</li> <li>Balanced line input </li> <li>48v phantom power</li> <li>Same 283 amp card as 1073 </li> <li>Same transformers as the 1073</li> <li>Same hand-wired modular construction that BAE is known for</li> </ol> Features: <ul> <li>Two Class A preamps with direct inputs in a single rack space with an external power supply</li> <li>High Impedance direct input for guitar and synthesizer</li> <li>Output level control serves as gain trim between the 5 dB steps on gain switch</li> <li>Balanced mic input and balanced +4 dB output are on XLR connectors off the rear of the module.</li> <li>Balanced line input is achieved through the LN switch on the front.</li> <li>Phase reverse </li> <li>Mic input impedance toggle switch between 1200 ohm and 300 ohm</li> <li>Similar Class A preamp as Neve™* 1073 equalizer/preamp modules</li> <li>Pad is an integral part of the gain switch same as Neve™* 1073 equalizer/preamp modules</li> <li>Has integrated phantom power with a lighted switch on the front panel</li> <li>Oversize remote power supply can operate up to four channels of preamp</li> <li>One-year warranty</li> <li>10 day satisfaction guarantee</li> </ul> The 1073MPF preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smoothes the top end, giving the highs a silky sheen. The BAE 1073 slightly compresses transients, as well. It is a smooth, fat, larger than life sound. An added bonus is to use the front-panel DI inputs to fatten samples and synths and instruments. Balanced line-level inputs on the rear allow for fattening and punching up entire mixes, or in a signal chain with other +4 gear. Set the gain knob (red Marconi) around 20 on the dial and set the output (grey knob) fully clockwise. This gives you the highest headroom and cleanest signal path. Every click is in 5db increments so if one click is too hot, attenuate the output to get inbetween the 5db steps. Another trick people like to do is to put the final mix through the balanced line inputs on the back to get that harmonic distortion. To get even more of that Class A output stage is to come out of channel 1 and into channel 2 then you have an accumulative effect of that classic output stage. * Neve is a trademark or registered trademark of AMS-Neve LTD and BAE is not affiliated with such entity.

BAE 1073MPF Dual-Channel Mic Pre - with PSU

The Radial Workhorse is a modular rack and mixer that combines the popular 500 series platform with an incredibly flexible patching system to let you create the ultimate studio environment. <ul><li>500 series 8 slot rack with 8x2 summing mixer</li><li>Bulletproof design is backwards compatible</li><li>Plenty of current for power hungry modules</li><li>Jensen transformer isolated main outputs</li><li>Dual headphone buss for monitoring </li></ul> Equipped to handle up to eight modules, the Workhorse lets you mix and match preamps, EQs and compressors and bring them all together in one rack. Individual modules may be accessed on the rear panel following the traditional API™ format or be bussed to the built-in 8x2 summing mixer for left-right signal panning, level control and muting. Once mounted, a unique 'feed' function lets you to configure modules to feed one and other in series to create the channel strip of your dreams! The master section features a traditional virtual ground mix buss combined with the superb sonic performance of Jensen Transformers on the main mix outs. A separate stereo monitor output provides playback, plus a super-loud dual-output headphone amp lets the engineer share the mix with the artist. Multiple Workhorses may be ganged together using the expansion buss to build 16, 24 or even 32 channel systems. Rear panel connectivity is extensive: Each channel is equipped with traditional XLR input and output. This is augmented with ¼" TRS jacks for balanced or unbalanced connectivity. A special Omniport™ jack delivers module-specific functionality that can range from an extra output, ducking input or effects insert depending on the module design. The Workhorse comes ProTools™-ready with 8-channel D-subs for the inputs and outputs plus third D-Sub gives you access to the built-in summing mixer for those that prefer the added warmth of analogue summing. Powering concerns are addressed with a unique 'pooled supply' that shares 1200 milliamps of current between the available 8 slots. This allows high current demand modules to exceed the usual limitations of other 500 series racks without the worry of brown outs. Plug and play easy to use, the Workhorse brings the fun, excitement and creative advantage of warm-sounding analogue to the modern digital studio.

Radial Engineering Workhorse

Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's "sound." The simple beauty of these EQs is unsurpassed! The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. Mercury Recording Equipment Co. is committed to recreating every magical nuance of the original in a modern production. The goal was that the Mercury EQ-P1 Program Equalizer would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. The Mercury EQ-P1 Program Equalizer has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. Interstage Transformer In/Out Switch The only modernization feature on the unit is a user switchable (in/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in/out switch, below the EQ in/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the "in" position, it is more "vintage" like the original Pultec. Up, in the "out" position, it is a little more "open" and "airy" on the top. Either way, the input and output transformers are always in the circuit. Frequencies <ul><li>Low Frequency Select (CPS): 20, 30, 60, 100, 200 Hz </li><li>Low Frequency Boost Control: Shelf Boost, 0dB to +13dB </li><li> Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB </li><li>High Frequency Bandwidth Control: Sharp to Broad </li><li>High Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k </li><li>High Frequency Boost Control: Shelf Boost, 0dB to +18dB </li><li>High Frequency Shelf Attenuate Select: 5, 10, & 20k </li><li> High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB </li></ul> Mercury EQ-P1 Vs. EQ-H1. What's the difference? The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application. The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive. The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit "thicker" than the EQ-P1, thus the EQ-H1 shines on Thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for Shaping vocals, Acoustic instruments, Guitar, Piano etc... Mercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would "they" have done it today? Mercury Recording Equipment Co. products are hand wired and/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive "vintage" look with custom powder coating finish. They look as good as they sound!

Mercury EQ-P1

The D.W. Fearn VT-7 has an all Class-A vacuum tube audio path, like all D.W. Fearn products. The gain reduction elements utilize circuitry that duplicates the sound and characteristics of the finest classic vacuum tube compressors, without depending on tubes that are no longer manufactured. The control circuitry is modern solid-state analog. The two channels may be used independently or linked together for stereo. A built in sidechain high-pass filter may be selected to reduce the compression on bass-heavy material. Controls (each channel): <ul><li>Threshold</li><li>Gain</li><li>Attack</li><li>Release</li><li>Harder/Softer</li><li>Separate/Link/Link HPF</li></ul> The VU meters may be switched between indicating gain reduction or output level. The VT-7 has a highly-transparent sound, although it can be used more aggressively when needed. Artifacts of the compression process are substantially lower than in most other compressors. The two channels may be used independently, or linked for stereo. In addition, a third position on the Link switch inserts a high-pass filter (HPF) in the sidechain to reduce the gain-reduction sensitivity of the VT-7 to low frequencies. This is a gentle roll-off, nominally at 100Hz. This allows a bass-heavy mix to have a better frequency balance, and prevents heavy low frequency audio from modulating the audio level. (NOTE: The photo of the VT-7 shows an older unit without the Link HPF position.) Like all our products, the VT-7 is designed to process high-quality audio and make it sound even better. The VT-7 is equally adept in tracking as well as as a bus compressor. Even jazz and classical tracks can be sent through the VT-7 for some mild gain control without obvious effect other than a significant improvement in the overall sound of the mix. Performance <ul><li>(no gain reduction, unity gain)</li><li>Frequency Response: 20Hz - 20kHz +/- 0.5dB -3dB at 5Hz and 65kHz</li><li>THD: less than 0.07%</li><li>Signal to Noise Radio: better than 80dB</li></ul>

D.W. Fearn VT-7

A reincarnation of the high output, low distortion tapes of the past but with even higher coating thickness and improved magnetic properties for the ULTIMATE PERFORMANCE.

ATR Magnetics Studio Master Tape - 2"

BAE 1073MPF Single-Channel Mic Pre - with PSU

The BAE (formerly Brent Averill Enterprises) 1073MPF is basically a deluxe 1073MP. lt has all the same qualities as the 1073MP with one added feature, a high pass filter. We integrated the same inductor based high pass filter that's in the 1073 and added it here to the 1073MPF. <ol> <li>Phase reverse button</li> <li>Impedance select between 1200 and 300 ohms</li> <li>Direct input switch.</li> <li>Balanced line input </li> <li>48v phantom power</li> <li>Same 283 amp card as 1073 </li> <li>Same transformers as the 1073</li> <li>Same hand-wired modular construction that BAE is known for</li> </ol> Features: <ul> <li>Two Class A preamps with direct inputs in a single rack space with an external power supply</li> <li>High Impedance direct input for guitar and synthesizer</li> <li>Output level control serves as gain trim between the 5 dB steps on gain switch</li> <li>Balanced mic input and balanced +4 dB output are on XLR connectors off the rear of the module.</li> <li>Balanced line input is achieved through the LN switch on the front.</li> <li>Phase reverse </li> <li>Mic input impedance toggle switch between 1200 ohm and 300 ohm</li> <li>Similar Class A preamp as Neve™* 1073 equalizer/preamp modules</li> <li>Pad is an integral part of the gain switch same as Neve™* 1073 equalizer/preamp modules</li> <li>Has integrated phantom power with a lighted switch on the front panel</li> <li>Oversize remote power supply can operate up to four channels of preamp</li> <li>One-year warranty</li> <li>10 day satisfaction guarantee</li> </ul> The 1073MPF preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smoothes the top end, giving the highs a silky sheen. The BAE 1073 slightly compresses transients, as well. It is a smooth, fat, larger than life sound. An added bonus is to use the front-panel DI inputs to fatten samples and synths and instruments. Balanced line-level inputs on the rear allow for fattening and punching up entire mixes, or in a signal chain with other +4 gear. Set the gain knob (red Marconi) around 20 on the dial and set the output (grey knob) fully clockwise. This gives you the highest headroom and cleanest signal path. Every click is in 5db increments so if one click is too hot, attenuate the output to get inbetween the 5db steps. Another trick people like to do is to put the final mix through the balanced line inputs on the back to get that harmonic distortion. To get even more of that Class A output stage is to come out of channel 1 and into channel 2 then you have an accumulative effect of that classic output stage. * Neve is a trademark or registered trademark of AMS-Neve LTD and BAE is not affiliated with such entity.

BAE 1073MPF Dual-Channel Mic Pre - without PSU

The BAE (formerly Brent Averill Enterprises) 1073MPF is basically a deluxe 1073MP. lt has all the same qualities as the 1073MP with one added feature, a high pass filter. We integrated the same inductor based high pass filter that's in the 1073 and added it here to the 1073MPF. <ol> <li>Phase reverse button</li> <li>Impedance select between 1200 and 300 ohms</li> <li>Direct input switch</li> <li>Balanced line input </li> <li>48v phantom power</li> <li>Same 283 amp card as 1073 </li> <li>Same transformers as the 1073</li> <li>Same hand-wired modular construction that BAE is known for</li> </ol> Features: <ul> <li>Two Class A preamps with direct inputs in a single rack space with an external power supply</li> <li>High Impedance direct input for guitar and synthesizer</li> <li>Output level control serves as gain trim between the 5 dB steps on gain switch</li> <li>Balanced mic input and balanced +4 dB output are on XLR connectors off the rear of the module.</li> <li>Balanced line input is achieved through the LN switch on the front.</li> <li>Phase reverse </li> <li>Mic input impedance toggle switch between 1200 ohm and 300 ohm</li> <li>Similar Class A preamp as Neve™* 1073 equalizer/preamp modules</li> <li>Pad is an integral part of the gain switch same as Neve™* 1073 equalizer/preamp modules</li> <li>Has integrated phantom power with a lighted switch on the front panel</li> <li>Oversize remote power supply can operate up to four channels of preamp</li> <li>One-year warranty</li> <li>10 day satisfaction guarantee</li> </ul> The 1073MPF preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smoothes the top end, giving the highs a silky sheen. The BAE 1073 slightly compresses transients, as well. It is a smooth, fat, larger than life sound. An added bonus is to use the front-panel DI inputs to fatten samples and synths and instruments. Balanced line-level inputs on the rear allow for fattening and punching up entire mixes, or in a signal chain with other +4 gear. Set the gain knob (red Marconi) around 20 on the dial and set the output (grey knob) fully clockwise. This gives you the highest headroom and cleanest signal path. Every click is in 5db increments so if one click is too hot, attenuate the output to get inbetween the 5db steps. Another trick people like to do is to put the final mix through the balanced line inputs on the back to get that harmonic distortion. To get even more of that Class A output stage is to come out of channel 1 and into channel 2 then you have an accumulative effect of that classic output stage. * Neve is a trademark or registered trademark of AMS-Neve LTD and BAE is not affiliated with such entity.

BAE 1073MPF Single-Channel Mic Pre - without PSU

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