 | IMG Stageline : MPS-1 (6 comments)
- Galvanically isolated output with ground lift switch and loop-through output- XLR connec...(+) - Galvanically isolated output with ground lift switch and loop-through output- XLR connectors (600 Ohm) for input and output- Frequency range: 35-30000 Hz- Dimensions: 100 x 80 x 40 mm- Weight: 310 g  |
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| Samson SM10 Rackmount Stereo Line Mixer
- Ten channels (eight 1/4-inch stereo line inputs, two combination XLR-1/4-inch inputs) ...(+) - Ten channels (eight 1/4-inch stereo line inputs, two combination XLR-1/4-inch inputs) - Balance control for each channel - Switchable +4 dBu or -10 dBV line input level - Balanced main stereo XLR and 1/4-Inch line outputs - Versatile signal routing  | |
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 | Dbx 286s Preamplifier Micro With Processor DBX 286S  |
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 | Palmer Pro Press Patch Box 10 - Press Patch Box 10-channel
The PPB10 is a compact version of the well known and established PPB20 from Palmer. The PP...(+) The PPB10 is a compact version of the well known and established PPB20 from Palmer. The PPB10 is a 10 channel audio splitter for press conferences and other applications. On a transformer split basis, one line input is split out to ten outputs.  |
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 | Spl Frontliner Tube Transistor Preamplifier Microphone Instrument Di De-esser Compressor Limiter Eq ...
With the finest ingredients from SPL, the new flagship of SPL's channel strips establishes...(+) With the finest ingredients from SPL, the new flagship of SPL's channel strips establishes the basis for world-class recordings and each of its particular processing stages can be inserted into studio environments or DAWs like analog plug-ins! The brand-new Frontliner has all tools on board to record vocals and instruments in perfect quality: it merges a preamp, a de-esser, an EQ and a compressor. Thanks to it's individual analog I/Os, all these powerful, hi-end analog processors can be inserted into any studio by the Frontliner pilot, i. e. to use them also during mixing and mastering. Thus it appears that the Frontliner is not reduced to a frontend device especially DAW based studios get the chance to integrate high-grade analog processing at any stage of the audio production process. The hybrid preamp with discrete transistor stage and separate tube stage combines high performance and neutrality with the option for sound coloration by enhancing the harmonic content with the switchable tube drive. The unique one-knob de-esser employs a phase cancelling technique to reduce sibilants. With three bands, the EQ section covers the complete frequency spectrum efficiently, and a tube saturation control allows to apply distortion to any signal from subtle to reckless levels. The compressor offers all classic parameters and a controllable automation of attack and release which adjusts the setting of time constants to the input signal pretty much like a cruise control. Three separate, individually optimized inputs for microphones, line signals and instruments. Discrete semiconductor/tube hybrid preamplifier to combine the advantages high dynamic range and low noise operation of semiconductors with the musical qualities of tube sounds (appealing top end, beautiful spacial impression). Discrete construction is based upon single transistors instead of integrated circuits (ICs) from industrial production and ensures a higher level of optimization. 250 volts tube circuits in the preamplifier and for tube saturation stages. High-grade operational amplifiers from Burr-Brown at critical positions. The SPL De-Esser applies the method of phase cancellation for reducing sibilants. This innovative approach works much more neutral than traditional compression methods a unique method for unobtrusive results and extremely fast operation. The compressor is operated by SPL s double VCA drive circuitry. A differential stage eliminates side effects and the half load per VCA dramatically reduces THD. The operational amplifiers for the compressor circuitry meet military specifications. Therefore the regulating voltages are extremely precise a precondition for high signal processing quality. Selected condensers for the EQ filters with pleasant sound characteristics. Especially with vocals, amplified frequencies are not sounding too bright, and on the other hand reductions can tame harsh sounds without sounding dull. Central star ground wiring scheme minimizes influences that could affect the ground paths. The audio ground is separated from the ground of the remaining equipment. This leads, in the truest sense of the word clean , to considerably improved tonal quality. The power supply is built around two toroidal transformers, one for the audio voltages and one for the other supply voltages (tube heating, LEDs, micro controller etc.) Mutual interferences are excluded and lavishly over-dimensioned capacities ensure absolutely stable supplies for all audio circuitries.  |
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 | DRAWMER 1970
Caractéristiques :- Compresseur et préamplificateur à double FET- Deux préamplis de mi...(+) Caractéristiques :- Compresseur et préamplificateur à double FET- Deux préamplis de microphone- Entrées XLR séparées pour le niveau ligne et le microphone- Entrée DI pour les instruments avec EQ pour les basses et les aigus- Véritable contournement de la section du compresseur- Les éléments de fonctionnement standard tels que le seuilRatio, attaque et relâchement ainsi qu'un affichage LED à 8 segments qui permet visualiser la réduction de niveau par bande- Indicateurs de niveau analogiques rétro-éclairés VU-mètres avec mode de mise à l'échelle commutable de 10 dB- Mise en marche et arrêt sans bruit grâce à des relais temporisés dans les sorties- Alimentation linéaire intégrée avec transformateur toroïdal à faible interférence et sélecteur de tension- Connecteur micro/ligne : XLR symétrique- Entrée auxiliaire : jack 6,35 mm, asymétrique- Impédance d'entrée ligne : 20 kOhm- Impédance d'entrée Micro : 200 Ohm à 2,4 kOhm- Instrument d'impédance d'entrée : 2,2 MOhm- Mic ON : -130 dB- Niveau d'entrée maximal : 21 dBu- Impédance de sortie : 100 Ohm- Niveau de sortie maximal : 21 dBu- Réponse en fréquence : 20 Hz à 20 kHz, /-0,5 dB- Diaphonie : < -75 dB- Rapport signal/bruit : >93 dB- THD N : 0,1% (0 dB)- Alimentation électrique : 115 ou 230 V, 63 VA- Dimensions (L x H x P) : 482 x 88 x 270 mm- Poids : 4,2 kg .gif) |
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 | Warm Audio Bus-comp Analog Stereo Vca Bus Compressor Bus Comp Namm 2020
The Warm Audio BUS-COMP is a two-channel stereo VCA compressor, inspired by classic circui...(+) The Warm Audio BUS-COMP is a two-channel stereo VCA compressor, inspired by classic circuits which for decades have produced a soft, velvety sound. Stereo VCA compressors perfectly control the dynamics on many sources, but they mainly owe their recognition to their magic touch on stereo mixes. The BUS-COMP will work perfectly on stereo mixes, drum buses, overheads, acoustic guitars, keyboards, pianos, orchestral instruments, voiceovers. The BUS-COMP is mainly designed to operate in stereo, but it can also be effective on individual mono sources. VCA compressors of this type have become popular for their ability to control dynamics effortlessly but also to add depth and color to the audio signal, even when no compression is applied. Recreating compressor technology at VCA was central to the design of the BUS-COMP, however, adding options and improvements was also important during its development. One of the characteristics of the BUS-COMP is to have transformers made in the USA by CineMag in the signal path, amplified by fully discrete op-amps. With a simple press of the button on the front, these custom transformers made in the USA are inserted in the signal path, increasing the depth and the grain of the sound. Features: - Stereo compressor with VCA, analog - Can be used in mono or stereo - VCA THAT 2180 - Discreet op-amp - Switchable CineMag USA transformer - External switchable sidechain - Switchable high pass filter: 30, 60, 105, 125, 185 Hz - Compression switch for easy comparison with and without - Inputs and outputs in 6.35mm TRS jack and XLR - Input impedance: 10 kOhms - Output impedance: 50 Ohms - Noise level: 29 dBu, 20 Hz - 20 kHz - Dynamic range:> 120 dB - Frequency response: 18 Hz - 22 kHz - THD noise, 20 Hz - 20 kHz, input 20 dBU:  |
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 | Grace Design Alix Black Instrument Microphone Preamp Mixer Di Parametric Eq Footswitch Wbdlxstudio
Like its big sibling the FELiX, ALiX is built into the same ultra-roadworthy floor unit ch...(+) Like its big sibling the FELiX, ALiX is built into the same ultra-roadworthy floor unit chassis, portable enough to throw in your bag or strap to your pedalboard, but still deliver studio quality sound to the stage. With the same stunning audio performance and legendary reliability as our pro audio range, ALiX brings open, musical and nuanced sonic character to any performance situation. The same powerful eq section as the FELiX allows simple and intuitive tone shaping. The high pass filter cuts 12dB per octave from 20Hz to 1kHz, and can also be set as a notch filter for chasing down problem feedback or rumble areas. Parametric midrange covers from 70Hz all the way to 8KHz, and fixed low and high controls are carefully voiced for musical shading of bass and treble. Controls are dead simple and clearly marked on the panel, making them easy to read and tweak on a dark stage. Footswitches include a mute / tune switch for muting all outputs except the dedicated tuner out, and a boost switch which activates the 10dB variable boost circuit. The instrument input has a 3 position impedance switch to ensure your pickup system sounds its very best. The isolated DI output with our custom wound transformer delivers stunning clarity and bass response with incredibly low noise. A dedicated, level controlled amplifier output can be used to drive a stage amp or personal monitor, and a dedicated tuner output stays active when all the other outputs are muted. Power is supplied by a universal 100-240VAC input module. 12V phantom is available in the line input for electret / lavalier mics, and we ve even included a 9VDC 500mA BOSS style pedal power output jack, so you can power your tuner and effects right from your ALiX. A TRS insert is included for adding effects. Regardless of what you play - ALiX is designed to help you sound better, play better and deepen the bond between you and your instrument.  |
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 | SIX CHANNEL 500
Le SiX Channel de SSL est un mini channel strip unique au format API 500 qui utilise les t...(+) Le SiX Channel de SSL est un mini channel strip unique au format API 500 qui utilise les traitements SuperAnalogue de la console SiX de SSL, notamment le préampli micro, l\'égaliseur basse et haute fréquence, ainsi que le compresseur à un seul bouton.Le SiX Channel est un moyen simple d\'ajouter des entrées micro/ligne supplémentaires aux entrées de niveau ligne de tout appareil audio professionnel, y compris les canaux stéréo de la console SiX. Il s\'agit également d\'un moyen flexible de créer un mélangeur modulaire professionnel à partir d\'une unité de rack de la série 500.Entrée préampli SuperAnalogue :Une conception SuperAnalogue à large plage de gain et à très faible bruit fournit une entrée ligne et micro avec un commutateurLinepour couvrir une large gamme de niveaux d\'entrée. L\'impédance nominale de l\'entrée ligne est de 10 k . Elle peut être modifiée à 1 M à l\'aide du commutateur Hi-Z. L\'impédance de 1 M rend cette entrée adaptée aux sources à très haute impédance, telles que les micros de guitare passifs, sans qu\'il soit nécessaire d\'utiliser une boîte de direct externe.Autres caractéristiques :- Filtre passe-haut (HPF) 12 dB/oct, 75 Hz commutable- Interrupteur de polarité (ø) pour inverser la polarité de l\'entrée XLR à l\'arrière du rack- Un indicateur LED à cinq segments indique le niveau du signal de sortie en dBuEQ :L\'égaliseur est une conception à deux bandes, douce et à large course, avec des filtres étagés haut et bas à 3,5 kHz et 60 Hz, réglables de 15 dB à -15 dB de gain. Chaque bande peut être indépendamment modifiée entre les courbes en cloche ou en escalier. Les courbes en cloche changent la fréquence centrale pour fonctionner à 5 kHz et 200 Hz, ce qui donne une plus grande polyvalence aux deux commandes.COMP :Un compresseur de canal polyvalent à un seul bouton avec des caractéristiques qui donnent des performances puissantes et polyvalentes à partir de ses contrôles étonnamment simples. Un indicateur à trois LEDs indique la quantité de réduction de gain appliquée. Le circuit dispose d\'un gain d\'appoint automatique pour maintenir le niveau du signal pour toute la gamme de réglages de seuil.  |
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 | Palmer Pro Pms02 Pms 02 Dual Channel Microphone Splitter
Palmer splitter boxes are used when a source signal must be sent to multiple inputs. For e...(+) Palmer splitter boxes are used when a source signal must be sent to multiple inputs. For example, if the microphone signal if the microphone signal is to be sent simultaneously to the front of house mixing desk for the house sound system, the monitor mixing desk onstage, and - since the event is being broadcast live - to the outside broadcast van. This requires a 1 in 3 microphone splitter. In another application, a mixing desk output is supposed to drive multiple power amplifiers in different rooms. This requires a line splitter. A differentiation is made between line and microphone splitters to ensure optimal matching of the various levels and impedances. Passive dual channel microphone splitter. It is used primarily to facilitate the sending of one microphone source signal to multiple inputs. For example, this makes it possible to send the L/R master outputs of a mixing desk to multiple power amps without problems. Thanks to the use of generously dimensioned audio frequency transformers, the sound is not influenced, but ground loop hum is prevented. The PMS02 can also be used to convert unbalanced signals into balanced signals and vice versa. Technical specifications: 2 channel micro splitter 1 into 3, each channel with: Input: female XLR type with parallel male XLR Type Output 2 transformer isolated male XLR type outputs Transformer ratio 1 : 1 Nominal level: 0 dB, max. level 20 dB Nominal impedance input and output: 600 ohms Ground lift switch |
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 | Grace Design Alix Instrument Microphone Preamp Mixer Di Parametric Eq Footswitch Wbdlxstudio
Like its big sibling the FELiX, ALiX is built into the same ultra-roadworthy floor unit ch...(+) Like its big sibling the FELiX, ALiX is built into the same ultra-roadworthy floor unit chassis, portable enough to throw in your bag or strap to your pedalboard, but still deliver studio quality sound to the stage. With the same stunning audio performance and legendary reliability as our pro audio range, ALiX brings open, musical and nuanced sonic character to any performance situation. The same powerful eq section as the FELiX allows simple and intuitive tone shaping. The high pass filter cuts 12dB per octave from 20Hz to 1kHz, and can also be set as a notch filter for chasing down problem feedback or rumble areas. Parametric midrange covers from 70Hz all the way to 8KHz, and fixed low and high controls are carefully voiced for musical shading of bass and treble. Controls are dead simple and clearly marked on the panel, making them easy to read and tweak on a dark stage. Footswitches include a mute / tune switch for muting all outputs except the dedicated tuner out, and a boost switch which activates the 10dB variable boost circuit. The instrument input has a 3 position impedance switch to ensure your pickup system sounds its very best. The isolated DI output with our custom wound transformer delivers stunning clarity and bass response with incredibly low noise. A dedicated, level controlled amplifier output can be used to drive a stage amp or personal monitor, and a dedicated tuner output stays active when all the other outputs are muted. Power is supplied by a universal 100-240VAC input module. 12V phantom is available in the line input for electret / lavalier mics, and we ve even included a 9VDC 500mA BOSS style pedal power output jack, so you can power your tuner and effects right from your ALiX. A TRS insert is included for adding effects. Regardless of what you play - ALiX is designed to help you sound better, play better and deepen the bond between you and your instrument. |
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 | Grace Design Felix Instrument Microphone Preamp 2 Channel Mixer Di Parametric Eq Footswitch Wbdlxstu...
Felix is our new, studio grade 2 channel blending acoustic instrument and mic preamp, desi...(+) Felix is our new, studio grade 2 channel blending acoustic instrument and mic preamp, designed for working musicians, engineers, sound companies or venues looking for the highest quality solution for amplifying stringed instruments. Felix is built into a roadworthy (beer-proof) floor unit chassis of anodized aluminum and steel, portable enough to leave the rack at home but bring studio quality to the stage. With the same stunning audio performance and legendary reliability as Grace Design s pro audio range, Felix brings open, musical and nuanced preamplification to any performance situation. A powerful eq section allows simple and intuitive tone shaping for even the most unruly of instruments. Each channel s variable high pass filter cuts 12 dB per octave from 20 Hz to 1 kHz, and can also be set as a notch filter for chasing down problem feedback or rumble areas. Parametric mid range controls cover from 65 Hz all the way to 6 kHz. While fixed low and high controls are carefully voiced for musical shading of bass and treble. Controls are simple and clearly marked on a bright panel, making them easy to read and tweak on a dark stage. Footswitch functions include a mute / tune switch for muting all outputs except the dedicated tuner out, a boost switch which activates a variable boost circuit, and finally, an A/B mode switch for when Felix is in A/B mode (which simply toggles between the two different channels). Felix brings the kitchen sink approach to I/O. Inputs include a 48V XLR mic input and two instrument inputs. Two independent transformer isolated DI outputs can be sourced from either the mix or the individual channel. This allows you to send the front of house a mix or each channel independently. A dedicated, level controlled amplifier output can be sourced from the mix or channel 2. A dedicated tuner output stays active when all the other outputs are muted. A side panel mounted 1/8 mini jack headphone amplifier is there for practicing, private noodling during boring soundchecks, or scrutinizing dubious eq decisions. A TRS insert is included for adding effects, and finally, a remote footswitch jack is included if Felix is going to spend his life in a rack or up off the floor. Guitar, bass, fiddle, mandolin, cello, dare we say banjo, that weird 3 string gourd thing - Felix is your instrument s new best friend. Flexible, reliable, a good listener and eager to make you sound better, he is also your new best friend. Designed and built by family and friends in sunny Lyons, CO, USA. FEATURES - Open, musical and detailed instrument and mic preamplification for discerning artists and engineers - 2 channel audio path with blend output control - m101 style transimpedance microphone preamplifier, no electrolytic capacitors in the signal path - Ultra precision 0.5% thin ¬ film resistors are used in the signal path - Careful power supply design and grounding yield an ultra-quiet signal path and professional level headroom and line driving ability - Fully ground isolated DI outputs with high quality, low distortion, fully shielded transformers - Super rugged 1/4 connectors with heavy duty metal bushings - Powerful, independent EQ on both channels hi and low shelving and full parametric midrange - Mid frequency control has two ranges 70-640Hz / 655 - 6kHz - 20 Hz 1 kHz sweepable HPF on both channels, can also be set as notch ¬filter - A / B footswitch for multiple instrument configurations or soloing different pickups -Mute/ tune footswitch mutes all outputs except dedicated tuner out - Boost footswitch for variable 10dB level boost (global) - DI outputs sources are ¬configurable - Ch1 (mix or Ch1) Ch2 (mix or Ch2) - Dedicated level controlled stage amp output (configurable as blend or Ch2) - Dedicated tuner out, remains hot when unit is muted - Side panel switches for 48V, phase, mid Hz range select, HPF/notch select, 12V and A/B mode select - 12V mic input power available on Ch2 - Phase reverse switch for each channel - 3 input impedance settings on each channel Ch1 10K, 1MEG, 10MEG / Ch2 332K, 1MEG, 20MEG accommodating a wide range of pickup types - Aux footswitch jack for accessing switch functions if Felix is mounted in a rack tray or on top of an amp - Mic stand flange mount screw holes holes for putting Felix on a mic stand - 1/8 headphone jack, active when Felix is muted - Global TRS effects insert jack - Universal 100-240 AC power supply with standard IEC cable no wall wart - take Felix anywhere in the world! - Designed and made by family and friends in Lyons, CO, USA |
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 | AMS NEVE 8801
LE son de la légendaire console Neve 88R dans un rack. Le 8801 offre un preampli micro cl...(+) LE son de la légendaire console Neve 88R dans un rack. Le 8801 offre un preampli micro classic Neve et l\'EQ Neve couplés au processeur de dynamique issue de la 88R. Cechannel stripdélivre un son de qualité pour la reproduction de toute performance musicale nécessitant la qualité et la puissance de traitement Neve.Le preampli micro Neve est suivi de filtres Hi Pass et Lo Pass, de 4 bandes d\'equalisation, d\'un compresseur, gate, avec sidechain pour le circuit dynamique et points d\'insert. L\'ordre de ces éléments peut être changé suivant les besoins.La section de filtres et/ou la section EQ peut être dirigée vers le sidechain dynamique pour affiner la reponse dynamique du signal sur n\'importe quelle entrée audio. Une carte de conversion Analogique/Numérique optionnelle inclus toutes les fréquences d\'échantillonnage standards jusqu\'au 192 kHz et conversion DSD. Un logiciel Neve Recall peut être utilisé sur PC ou Mac. Cela permet de rappeler rapidement les réglages ou que l\'on se trouve lorsque cela est nécéssaire.  |
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 | Chandler Tg Channel Mkii Preamplifier Equalizer Tg2 With Eq
The Chandler Limited TG Channel is a recreation of several classic circuits - combining Wa...(+) The Chandler Limited TG Channel is a recreation of several classic circuits - combining Wade's design of the TG2 pre amp section with an equalizer that was redesigned from a circuit used in the TG12410 Transfer Console, the mastering counterpart to the original Beatles desks. The active portions of the unit use the same discrete amplifiers and transformers as in the TG1 Limiter and TG2 pre amp. The TG Channel's passive equalizer EQ is an all inductor design offering sweet high frequencies, large inductor based lows, and a very high Q mid cut section. Its sound is very comparable to Pultec and Lang program EQs. A simple description would be a TG Pultec with a TG pre amp thrown in. All TG units require and function on the PSU-1, Chandler Limited power supply.  |
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 | Grace Design Bix Instrument Microphone Preamp Mixer Di Parametric Eq Footswitch Namm 2017 Wbdlxstudi...
In a few short years, our FELiX and AliX have become the acoustic instrument preamps of ch...(+) In a few short years, our FELiX and AliX have become the acoustic instrument preamps of choice for discerning touring and recording musicians, enabling them to perfect their plugged-in sound beyond what was previously possible. And now comes the new baby of Grace Design: BiX! With the exact same audio performance of its bigger siblings, but with streamlined controls and a price that puts it in reach of virtually any performer. BiX delivers crystal clear, ultra-quiet audio performance. The highs are silky smooth and open, and the lows are deep and rock solid. The dynamics and tone of the instrument come alive with clarity and realism, allowing a deeper bond between you and your instrument. Main Features 1/4 high impedance input Separate FX send and return 1/4 unbalanced line output XLR DI transformer iso output 10dB variable boost Mute and Boost footswitches High and Low shelving EQ Selectable EQ roll off points 9VDC operation Pedalboard friendly design Made in the USA |
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 | Grace Design Felix Instrument Microphone Preamp 2 Channel Mixer Di Parametric Eq Footswitch
Felix is our new, studio grade 2 channel blending acoustic instrument and mic preamp, desi...(+) Felix is our new, studio grade 2 channel blending acoustic instrument and mic preamp, designed for working musicians, engineers, sound companies or venues looking for the highest quality solution for amplifying stringed instruments. Felix is built into a roadworthy (beer-proof) floor unit chassis of anodized aluminum and steel, portable enough to leave the rack at home but bring studio quality to the stage. With the same stunning audio performance and legendary reliability as Grace Design s pro audio range, Felix brings open, musical and nuanced preamplification to any performance situation. A powerful eq section allows simple and intuitive tone shaping for even the most unruly of instruments. Each channel s variable high pass filter cuts 12 dB per octave from 20 Hz to 1 kHz, and can also be set as a notch filter for chasing down problem feedback or rumble areas. Parametric mid range controls cover from 65 Hz all the way to 6 kHz. While fixed low and high controls are carefully voiced for musical shading of bass and treble. Controls are simple and clearly marked on a bright panel, making them easy to read and tweak on a dark stage. Footswitch functions include a mute / tune switch for muting all outputs except the dedicated tuner out, a boost switch which activates a variable boost circuit, and finally, an A/B mode switch for when Felix is in A/B mode (which simply toggles between the two different channels). Felix brings the kitchen sink approach to I/O. Inputs include a 48V XLR mic input and two instrument inputs. Two independent transformer isolated DI outputs can be sourced from either the mix or the individual channel. This allows you to send the front of house a mix or each channel independently. A dedicated, level controlled amplifier output can be sourced from the mix or channel 2. A dedicated tuner output stays active when all the other outputs are muted. A side panel mounted 1/8 mini jack headphone amplifier is there for practicing, private noodling during boring soundchecks, or scrutinizing dubious eq decisions. A TRS insert is included for adding effects, and finally, a remote footswitch jack is included if Felix is going to spend his life in a rack or up off the floor. Guitar, bass, fiddle, mandolin, cello, dare we say banjo, that weird 3 string gourd thing - Felix is your instrument s new best friend. Flexible, reliable, a good listener and eager to make you sound better, he is also your new best friend. Designed and built by family and friends in sunny Lyons, CO, USA. FEATURES - Open, musical and detailed instrument and mic preamplification for discerning artists and engineers - 2 channel audio path with blend output control - m101 style transimpedance microphone preamplifier, no electrolytic capacitors in the signal path - Ultra precision 0.5% thin ¬ film resistors are used in the signal path - Careful power supply design and grounding yield an ultra-quiet signal path and professional level headroom and line driving ability - Fully ground isolated DI outputs with high quality, low distortion, fully shielded transformers - Super rugged 1/4 connectors with heavy duty metal bushings - Powerful, independent EQ on both channels hi and low shelving and full parametric midrange - Mid frequency control has two ranges 70-640Hz / 655 - 6kHz - 20 Hz 1 kHz sweepable HPF on both channels, can also be set as notch ¬filter - A / B footswitch for multiple instrument configurations or soloing different pickups -Mute/ tune footswitch mutes all outputs except dedicated tuner out - Boost footswitch for variable 10dB level boost (global) - DI outputs sources are ¬configurable - Ch1 (mix or Ch1) Ch2 (mix or Ch2) - Dedicated level controlled stage amp output (configurable as blend or Ch2) - Dedicated tuner out, remains hot when unit is muted - Side panel switches for 48V, phase, mid Hz range select, HPF/notch select, 12V and A/B mode select - 12V mic input power available on Ch2 - Phase reverse switch for each channel - 3 input impedance settings on each channel Ch1 10K, 1MEG, 10MEG / Ch2 332K, 1MEG, 20MEG accommodating a wide range of pickup types - Aux footswitch jack for accessing switch functions if Felix is mounted in a rack tray or on top of an amp - Mic stand flange mount screw holes holes for putting Felix on a mic stand - 1/8 headphone jack, active when Felix is muted - Global TRS effects insert jack - Universal 100-240 AC power supply with standard IEC cable no wall wart - take Felix anywhere in the world! - Designed and made by family and friends in Lyons, CO, USA |
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 | Rupert Neve Designs Portico 2 Master Buss Processor Compressor Limiter
Based around the high voltage, discrete and class-A signal paths made famous in the 5088 M...(+) Based around the high voltage, discrete and class-A signal paths made famous in the 5088 Mixer and the Portico II: Channel, the Portico II Master Buss Processor is creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting. With input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the Master Buss Processor (MBP) will integrate flawlessly with virtually any system. Additionally, the MBP incorporates mastering grade detented pots throughout to fine tune its revolutionary dynamics, tone, and stereo field controls. This new topology is a significant evolution of Mr Rupert Neve s classic designs with appreciable benefits to headroom, dynamic range, distortion, noise, slew rate, bandwidth, and accuracy while still providing for the sweet, musical performance that has been a part of countless recordings. The Compressor The MBP s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. With the stereo link control engaged, Ch. A settings act as the master control for convenient operation. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother more musical vintage response (feed-back). Peak mode alters the compressor s attack to react to peak transients with a roughly .1ms response time. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. SC HPF inserts a high pass filter at 250 Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. Blend creates 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 to another (for instance, a voice-over keying the compressor to duck a background music track). The Limiter The Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. At first glance, one might scoff at the single knob operation, however this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. Our new Adaptive Release Technology is behind this revolutionary performance. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the snap of a snare drum) and slowly to more sluggish signals (such as a bass guitar). This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. In this manner, the MBP Limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast acting limiter. Typically there is a tradeoff between how fast limiter can react and the amount of modulation distortion in the lower frequencies. This is due to the lower frequencies finding their way into the side chain signal, triggering the compressor on and off very quickly, which ends up modulating the overall signal. This is interesting to look at with sine waves, but sounds quite undesirable with music. The MBP does not have this tradeoff, and one is able to have the best of both worlds: a quick, snappy response while maintaining the integrity and smoothness of the low end. In addition to the adaptive time constant circuitry, the release time is also varied with the position of the knob. As the knob is turned counter clock-wise, the release time is increased accordingly, as typically one would want a longer release time with a larger amount of reduction. The new limiter found in the MBP is designed to respond as fast as .03 mS in order to reduce the first half of a 20 kHz waveform over the threshold. It has a medium knee initial ratio and within 3 dB of the threshold attains a better than 10:1 ratio. A soft clipper circuit catches transients that may have been in the knee when the threshold knob is set quite high. Both the limiter and soft clipper are switched out of circuit with the knob is fully clockwise. The release times are fully automatic and adjust depending both on the average depth of limiting and the duration of the transients above the threshold. The limiters share the same discrete, class-A gain module and VCA with the compressors, so using the Limiter does not introduce more stages that the music would have to pass through. This combination of features provides exceptionally transparent limiting, and often allows twice as much gain reduction compared to other limiters before objectionable artifacts become apparent. The Stereo Field Editor The stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters. 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, often resulting in more ambient material, and accentuated stereo reverbs. 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 stereo field editor s other controls, listening and experimentation are essential for the best results. The depth control of the MBP adjusts the spatial positioning of elements in the sound stage. Center-panned elements like solo instrument or vocal can be brought forward in a mix, in relation to supporting instruments. In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension. To fine tune the SFE, there are individual filters that allow a fine tuning of what information is reintroduced from the width and depth circuits, thus tailoring each effect to a specific bandwidth. For example, if one wanted to increase the amount of low frequencies in the center image, engaging the SFE Depth and Depth EQ, set to LF, would filter out everything in the Mid signal except what is below the filter point (in this case, 250 Hz), and once reintroduced to the original would result in a perceived increase in the low frequencies in the center image. It is also possible to do the same thing with the Width EQ, except instead of boosting the width, cutting it, which removes low frequencies from the Sides, tightening up the low frequency perception in the center. Using the Width EQ again, this time set to HM (or LM as the case may be), increasing the amount of band-passed Side information can provide a wonderful spreading of instruments, reverberation and background vocals, giving the illusion that the sounds are spread further out, enveloping the listener. Another technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Now whatever amount of Depth or Width is introduced is first routed to the compressors, allowing the user to utilize the compressor features on the Mid and Side information. Now it is possible to not only increase the side information, but to utilize the compressor to bring up some of the low level side information, or allow the user to tame an overly expressive lead singer. With the addition of using the EQ section on the Depth and Width, a wide range of tools is available to the engineer.  |
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 | Universal Audio Ua 6176 Classic Tube Microphone Preamp And 1176-style Compressor
The 6176 Vintage Channel Strip combines the alluring, all-tube sounds of the legendary Bil...(+) The 6176 Vintage Channel Strip combines the alluring, all-tube sounds of the legendary Bill Putnam-designed 610 microphone preamp, with the signature FET compression of our 1176LN, to create the ultimate recording channel strip. The warm, smooth tones of this mic preamp design - employed to record everyone from Frank Sinatra to Van Halen I - and the unique characteristics of the compressor, are two major reasons why the 6176 is found in studios around the world.- All-tube mic preamp section derived from legendary Bill Putnam-designed 610 modular console- Signature 1176LN Class A FET compressor section - heard on countless hit records for more than 30 years- ''Split'' or ''Join'' switch allows separate or series operation of the preamp and compressor- Hand-built in USA; backed by 1-Year limited warranty- View All FeaturesThanks to its straightforward controls and hallmark sound, the 6176 is the signal path of choice for engineering heavyweights like Vance Powell and Joe Chiccarelli, plus artists including Chris Martin of Coldplay, Norah Jones, Wyclef Jean, and James Mercer of The Shins. The ability to ''Split'' or ''Join'' the preamp and the compressor sections via a simple switch gives the 6176 added flexibility. This is truly UA's premier channel strip, and among the world's finest.610B Mic PreThe 2-610 microphone and instrument preamplifier has received praise from many corners. Michael Cooper, in his review for Mix Magazine, called it ''hands-down, the most dimensional mic preamp I've ever heard''. Peter Wade, engineer/producer who has worked with acts ranging from Wyclef Jean to Jennifer Lopez, said simply, ''This box rocks.'' The 6176 mic preamp sections maintains the quality and character of the 2-610 while adding high-tension power regulation for improved bass response and a front-panel 15db pad switch.1176LN Limiting AmplifierAs legendary engineer/producer Andy Johns put it, ''The 1176LN is the workhorse compressor.'' The 1176LN may well be the most loved compressor in history. Its trademark lightning-quick attack and release times and the tone of it's Class A output amplifier have enhanced countless recordings over the last thirty-five years. We've recreated the 1176LN for the compressor section of the 6176 with the same exacting, attention to detail and tradition we use on our 1176LN. The resulting character, heritage and tone simply cannot be found on other channel strip units.Features :- All-tube mic preamp section derived from legendary Bill Putnam-designed 610 modular console- Signature 1176LN Class A FET compressor section- heard on countless hit records for more than 30 years- Split or Join switch allows separate or series operation of the preamp and compressor- High and Low frequency shelving EQ- Variable impedance Input, Gain, and Output levels- Mic, balanced Line, and Hi-Z inputs- Ultra-quiet operation- Stereo interconnection via 1176-SA- Hand-built in USA; backed by 1-Year limited warrantyIn Join mode, a single input signal is fed through the microphone/instrument preamp and then through the compressor. In Split mode, one signal can be fed into and out of the preamp/EQ section while a second can be fed into and out of the compressor section.  |
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 | Rupert Neve Designs Shelford Channel Microphone Preamp Eq De-esser Compressor Silk Channel Strip New...
Over fifty years in the making, the Shelford Channel is the definitive evolution of the or...(+) Over fifty years in the making, the Shelford Channel is the definitive evolution of the original technologies in Rupert s classic console modules like the 1073, 1064, 1081 and 2254, thoughtfully advanced and refined for the 21st century studio. The Shelford Channel is built around Rupert Neve s first new transformer-gain, class-A microphone preamplifier in over 40 years, the best-of-the-classics inductor EQ section from the Shelford 5052, a tone-packed Diode bridge compressor, the analog power of variable Silk saturation, a new dual-tap transformer output stage for maintaining headroom or allowing the full driving of the Channel without clipping standard converters, and twice the operating voltage of vintage designs. |
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 | Grace Design M103 Tranche Preampli/di/eq/com presseur
Informations préliminaires Voie préamplificatrice... Elle respecte totalement la qual...(+) Informations préliminaires Voie préamplificatrice... Elle respecte totalement la qualité audio de votre enregistreur haute fidélité sans rien cacher. Cest probablement pour cette raison quil nous a fallu une éternité pour concevoir ce préamplificateur ! Mais enfin, ça y est ! Notre nouveau est un outil denregistrement extrêmement puissant adapté à nimporte quelle application denregistrement.Nous avons commencé par sélectionner notre célèbre circuit préamplificateur micro sans transformateur : il a fait ses preuves à maintes et maintes reprises. Réserve dynamique, détail, clarté, musicalité tout est là ! Vous disposez également de notre mode exclusif pour vos micros à ruban, dun filtre passe-haut à 75 Hz et dune alimentation fantôme 48 V commutable.Le correcteur à 3 bandes est basé sur une architecture détage unique à accordage parallèle, qui minimise les circuits et offre une correction en fréquence naturelle et musicale sur toutes les fréquences. Vous disposez dune correction des médiums totalement paramétrique, et de filtres de type Baxendall et en cloche sur les bandes hautes et basses fréquences.Le circuit de compression fait appel à un atténuateur optique le moyen le plus pur et le plus fidèle de gérer le gain. Il permet une vaste palette datténuation allant dans les compressions poussées, tout en respectant la transparence et la neutralité sonore du signal dentrée. Le meilleur outil pour gérer la dynamique de vos signaux et transmettre un signal au niveau parfaitement homogène, clair, intact et qui conserve toute sa vivacité sonore.Les possibilités complètes dentrées/sorties vous permettent daccéder aux sections dégalisation/compression indépendamment des autres. Notez également que la position du circuit dégalisation/compression dans le trajet du signal est commutable. Les réglages du compresseur peuvent être liés pour les applications stéréo, et les afficheurs de niveaux de sortie et de réduction du gain à 10 segments vous permettent de savoir instantanément où vous en êtes. Ca y est nous lavons créé. Le m103 : un préamplificateur de par son nom, un outil extrêmement puissant de par sa conception. Jetez un coup dil aux détails.Caractéristiques :Architecture de circuit préamplificateur micro trans-impédance rapide et musicalRésistances de haute qualité (tolérance de 0,5 %) à film métal utilisées dans le trajet du signal audioNouveau sélecteur rotatif de gain à 12 positions à contacts orÉtage de sortie ligne et amplificateur du filtre passe-haut hautes performancesMode pour les micros à ruban (également excellent pour les micros dynamiques), Bypass des condensateurs de découplage de lalimentation fantôme par relais, impédance dentrée supérieure, et impossibilité dactiver lalimentation fantôme 48 VÉgalisation de précision à 3 bandes, filtre médium totalement paramétrique, filtres basses et hautes fréquences Baxendall et en clocheCompresseur optique de conception nouvelleSortie directe du préamplificateur microEntrée ligne en amont de la section dégalisation/compressionFace avant anodisée noire à lépreuve des balles, avec lettrage laserRelais scellé à contacts or pour la commutation vers lentrée haute impédanceAlimentation intégréeTémoins Led dalimentation fantôme 48 V, de mode de micro à ruban et de filtre passe-hautAfficheurs de niveaux précis à 10 segments de réduction de gain et de niveau de sortieGarantie de cinq ans sur les pièces et la main-duvreFabriqué aux USA |
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