1073MP FeaturesThis is the mic pre-amp version of the 1073 equaliser having the same well-known characteristic Class A sound with its harmonically rich low end, slight resonant highs, and maintained focused mids.A transformer coupled input, with two selectable impedances makes the 1073MP work well with a variety of microphones.There is also a line input feature for adding depth to 2-bus mixes and a DI input for all passive and active instruments.As a coloured and versatile mic-pre, the 1073MP maintains its sonic signature across a wide bandwidth. All Class A, transformer-coupled design in a 19" 1U chassis. Line level XLR inputs for extra versatility as a line preamp. High impedance DI for guitar and synth. The same Class A components as the 1073 and 1084. Illuminated phase reverse and phantom power push-buttons. Input impedance selector switch between 1200 and 300 ohms. Same modular design and hand-wiring BAE is known for. Regulated linear power supply will run up to four channels. "I just got my 1073MP and I couldn't be happier. I've been using various BAE pres in other studios for years, but never had a pair in my own home studio. I absolutely love this unit being in my rack and now my vibe here at my studio was just elevated so much. Thanks for making some of the best gear out there!!!!" - Mike Castonguay, Lukewarm Freeda Productions

TUBESESSOR - Optical Tube Compressor The Heritage Audio TUBESESSOR is an optical tube compressor with an absolute sweet, warm and natural dynamic control possible, but also the possibility to spice up the sound up on occasion. Tube compression, especially based on an optical design, is generally considered to be warmer than VCA and FET designs, and it tends to provide a very pleasant, more natural, smoother result. This has made it the preferred choice for seasoned engineers and producers that want to provide a very transparent control over a signal while offering a hint of enhancement but keeping true to the original tone. For this very reason optical tube compressors are usually the first thing one reaches for when dealing with critical vocals and bass signals. The TUBESESSOR is the perfect option for this. Analog excellence is achieved by combining an all tube-based amplification stage with an outstanding UTC A10 input transformer replica by AMI, as well as a custom all-silicon steel output transformer. With an elevated internal operating voltage you can be sure the TUBESESSOR will heat up any signal while also maintaining its character and vibe. No starved plate circuits here! Never has dynamics control been so easily obtainable while at the same time so invisible. Even with generous amounts of gain reduction being applied anything processed with the TUBESESSOR still maintains its clarity and depth. Thanks to the TUBESESSOR´S three unit high front panel you´ll find plenty of room to adjust the large Herchild-style knobs making it a breeze to achieve the desired sound. No cramped spaces here, just plenty of space to easily and quickly adjust the settings to taste. Now, we all know it would not be a Heritage Audio product without our expertise and passion channeled into a couple key features that take the TUBESESSOR to another dimension. First of all, for those times when a bit more texture and bite is called for, there´s nothing better than a little saturation…or maybe a lot. The innovative TUBE SATURATION section takes full advantage of a creamy sounding NOS Raytheon double triode tube to add in just a pinch of aggression or fully transform the signal into something ready for war. It, importantly, works in tandem with the custom output transformer to produce the right harmonic content. There are 4 available settings that vary from CLASSIC, no saturation, all the way to HOT, a heavily treated signal. This feature alone opens up a ton of possibilities for drums and other instruments vastly expanding the TUBESESSOR´S uses. And thanks to Heritage Audio´s use of an audiophile-grade Psvane dual output triode in a totem pole configuration, a solid output stage is guaranteed all while allowing much higher headroom than other tube compressors, whether vintage or modern. Secondly, there are also five internal sidechain filter settings to choose from. This is the exact same filter section that helped the SUCCESSOR obtain its legendary status. Two of the options make sure the compressor is not being unfairly overpowered by lower frequencies and the other three are frequency specific options for extra creativity. Continuously adjustable ATTACK & RELEASE controls in addition to a FIXED mode and a combination of the two will provide all the necessary settings possible, allowing you to mold your signal exactly as you´d like. A huge, attractive custom VU meter for monitoring either Input, Output or Gain Reduction guarantees you´ll always be informed with a clear reading of exactly what is happening. Everything you could possibly require to achieve a top-notch professional recording. As is the case with other tube offerings from Heritage Audio, the company has sourced NOS tubes for a lifetime, making sure your investment is safe and sound. Features Optical Compression Detection All Tube-Based Amplification Stage Fully Transformer Balanced Input & Output Tube Saturation Section Large Friendly Interface Extensive Attack & Release Control 5 Built-In Sidechain Filtering Options Huge Informative VU Meter Built Like A Tank

MÄAG AUDIO’S NEWEST CREATION IS THE PREQ2™ DUAL MIC PREAMP WITH EQ, A COMPLETE ANALOG SYSTEM FOR EITHER RECORDING OR MIXING HOUSED IN A 1U STANDALONE UNIT. IT COMES WITH CLIFF MÄAG’S VENERABLE AIR BAND® SHELVING EQUALIZER FIRST INTRODUCED IN 1993 WITH HIS NTI EQ3 EQUALIZER. THE PREQ2 WILL HANDLE EITHER LINE OR MICROPHONE SIGNAL LEVELS WITH TWO MATCHED CHANNELS BOTH WITH SEPARATE REAR PANEL LINE LEVEL INPUT AND MICROPHONE XLR CONNECTORS AND SWITCHABLE +48-VOLT PHANTOM POWERING. THE REAR PANEL ALSO HAS XLR OUTPUT CONNECTORS FOR EACH CHANNEL AND A ON/OFF/FUSE MAINS SWITCH. ALL SWITCHES ON THE PREQ2 HAVE COLORFUL LEDS TO CONFIRM THEIR OPERATION AND ALL CONTROLS HAVE DETENTS WITH THE EXCEPTION OF THE CONTINUOUSLY VARIABLE MICROPHONE GAIN. MICROPHONE INPUTTHE MÄAG AUDIO PREQ2 MICROPHONE PREAMP HAS UP TO 71DB OF GAIN SPLIT BETWEEN A DISCRETE CLASS-A TRANSISTOR PREAMP ALONG WITH A LARGE, NICKEL-CORE MÄAG AUDIO-BUILT INPUT TRANSFORMER (ONE FOR EACH CHANNEL). THIS CIRCUIT OFFERS A CLEAN, DETAILED SOUND WITH +27DBU OF HEADROOM AND AN EIN NOISE LEVEL OF -128DB. THERE ARE TWO OPTIMIZED GAIN RANGES SELECTABLE ON THE FRONT PANEL. THE DEFAULT GAIN RANGE IS +20DB TO +42DB AND A +42 TO +71DB GAIN RANGE IN HIGH GAIN MODE USING THE FRONT PANEL’S 25DB GAIN SWITCH. MAXIMUM INPUT LEVEL IS +8DB. THE MICROPHONE INPUT SECTION HAS FRONT PANEL SWITCHES, LED INDICATORS AND BUTTONS FOR: +48-VOLT PHANTOM POWERING, -20DB ATTENUATION PAD, PLUS SIGNAL PRESENT, +26DBU PEAK LEDS, AND PHASE OR POLARITY FLIP. MICROPHONE GAIN IS CONTINUOUSLY ADJUSTABLE USING A SINGLE, LARGE MIC GAIN CONTROL KNOB. LINE INPUTTHE FRONT PANEL LINE SWITCH TOGGLES THE REAR PANEL XLR LINE INPUT CONNECTORS IN PLACE OF THE MICROPHONE PREAMP’S OUTPUT (AFTER THE INPUT TRANSFORMER AND MICROPHONE PREAMP). IT IS POSSIBLE TO KEEP BOTH A MICROPHONE AND A LINE LEVEL SOURCE ALWAYS CONNECTED TO THE PREQ2 AND TOGGLE BOTH CHANNELS SEPARATELY. YOU COULD HAVE ONE CHANNEL WORKING AS A MICROPHONE PREAMP CHANNEL AND THE OTHER AS A LINE LEVEL AMPLIFIER FOR RECORDING A DIRECT MUSICAL INSTRUMENT (BASS OR GUITAR) AT THE SAME TIME. BOTH MIC INPUT SECTIONS HAVE ¼-INCH TS JACKS FOR HIGH IMPEDANCE (1 MEGA-OHM) INSTRUMENT INPUT WITH A COMPANION ¼-INCH OUTPUT THRU JACK THAT SIMULTANEOUSLY PROVIDES AN ISOLATED, BUFFERED OUTPUT—A “COPY” OF THE INSTRUMENT INPUT SIGNAL AT UNITY GAIN. IN ADDITION TO PROVIDING AN UNBALANCED SIGNAL FOR RUNNING LONG LEADS OUT TO INSTRUMENT AMPLIFIERS IN THE STUDIO AND/OR STOMP PEDALS, FOR LIVE RE-AMPLIFYING THE THRU JACK’S OUTPUT SIGNAL IS ALSO ACTIVE WHEN USING THE XLR MICROPHONE INPUT. WHEN USING THE INSTRUMENT INPUT TS JACK, THE MÄAG AUDIO PREQ2 USES AN AUTOMATIC DETECTION CIRCUIT TO SWITCH (USING A RELAY) AND ROUTE THE UNBALANCED ¼-INCH INPUT SIGNAL TO THE MIC INPUT TRANSFORMER. THE IMPEDANCE IS LOWERED FOR A BETTER MATCH TO THE TRANSFORMER. THIS DETECTION CIRCUIT MAKES IT IS IMPOSSIBLE FOR THE 48-VOLT PHANTOM POWER TO EVER REACH THE ¼-INCH OR XLR LINE INPUT EVEN IF ALREADY TURNED ON. EQUALIZATION SECTIONSTHE MÄAG AUDIO PREQ2 HAS THREE EQUALIZER/FILTERS SECTIONS; THE LAYOUT AND CONTROL COMPLIMENT ARE IDENTICAL FOR BOTH CHANNELS. THE EQUALIZER DESIGN IS SPECIFICALLY DESIGNED FOR BOTH RECORDING AND/OR SUBTLE TOUCHUP TONALITY CHANGES AND EUPHONIC ENHANCEMENTS. ON THE LEFT SIDE OF THE CHANNEL IS THE FIRST CONTROL FOR THE 2ND ORDER, 12DB/OCTAVE HIGH PASS FILTER. IT IS FULLY VARIABLE USING A 21-DETENT CONTROL TO SWEEP FROM 20HZ TO 200HZ. IT HAS ITS OWN HARDWIRED, IN/OUT BYPASS SWITCH. NEXT IS THE LOW FREQUENCY BELL-SHAPED EQUALIZER SECTION WITH A BOOST (ONLY) CONTROL AT 6DB/OCTAVE. FREQUENCIES ARE SWITCHED USING A SIX POSITION ROTARY SWITCH AND ARE: 10HZ (SUB) SHELF, AND BELL-SHAPED CURVES FOR 40HZ, 65HZ, 100HZ, 125HZ, AND 165HZ. UP TO 9DB OF BOOST IS AVAILABLE. AIR BAND®THE THIRD BAND OF THE EQUALIZER IS THE MÄAG AUDIO AIR BAND SHELVING SECTION WITH 2.5, 5, 10, 15, 20, AND 40-KHZ FREQUENCY CHOICES WITH ITS OWN CONTROL AND UP TO 9DB OF MAXIMUM BOOST. BOTH THE AIR BAND AND LOW FREQUENCY EQUALIZERS SHARE A SINGLE BYPASS PUSH-BUTTON.

Seit seiner Veröffentlichung im Jahr 1998 hat der Manley Massive Passive den Klang unzähliger Produktionen auf der ganzen Welt veredelt. Zahlreiche renommierte Produzenten sowie Recording- und Mastering-Engineers aus aller Welt nutzen das Gerät, um ihren Produktionen einen eigenen Signature-Sound zu verleihen. Die XXV Anniversary Edition besitzt zur Feier des 25-jährigen Jubiläums des Massive Passive eine attraktive kobaltblaue Frontplatte mit eine speziellen Lasergravur und ist weltweit auf 100 Exemplare limitiert. Hochwertiges Schaltungsdesign mit passiven KomponentenWie gewohnt, wurden von Manley bei der Entwicklung des Massive Passive keine Mühen gescheut und keine unnötig komplizierten Schaltungen integriert – Massive Passive basiert auf passiven Komponenten und in der Klangbearbeitung kommen ausschließlich Metallschichtwiderstände, Folienkondensatoren und handgewickelte Spulen zum Einsatz. Aus diesem „natürlicheren“ Ansatzes resultiert auch ein natürlicher und organischere Klang. 2-Kanal 4-Band-EQ für das gesamte Spektrum von radikal bis subtilDer Massive Passive Equalizer liefert bei der drastischen Signalbearbeitung während der Aufnahme ebenso hervorragende Ergebnisse wie bei subtilsten Klangfärbungen für Gesangsspuren oder Gesamtmischungen. Obwohl es einen anderen Ansatz verfolgt bietet das 2-kanalige 4-Band-Design umfangreiche Bearbeitungsoptionen und kombiniert dabei die größten Vorteile der Pultec-EQs mit denen ausgewählter graphischer, parametrischer und Mischpult-EQs, ohne dabei das Audiosignal zu sehr zu verfremden. Ob kreative oder chirurgisch präzise Klangbearbeitung – der Manley Massive Passive holt aus jedem Signal das Beste heraus. Fünf Hoch- und vier Tiefpassfilter mit hoher FlankensteilheitDer Manley Massive Passive ist mit fünf Hoch- und vier Tiefpassfiltern bestückt, die sich einzeln oder gleichzeitig aktivieren lassen. Die Flankensteilheit der Filter ist hoch, damit störende Anteile eliminieren werden können, ohne das Musiksignal zu beeinträchtigen. Der EQ klingt auch in Kombination mit anderen Frequenzbändern hervorragend. Manley hat sich bei der Entwicklung des Massive Passive nicht auf etablierte Standards verlassen, sondern ausschließlich nützliche Funktionen integriert und macht mit diesem neuen Design-Ansatz wirklich massive Ergebnisse möglich. MANLEY POWER®-SchaltnetzteilDas MANLEY POWER®-Netzteil wurde unter der Leitung von Bruno Putzeys für Manley Labs entwickelt und ist speziell für die Verwendung mit Hochspannungsröhren und Audiosignalen optimiert. Es liefert zuverlässig alle für den Massive Passive nötigen Spannungen, wie die 300 V Röhrenspannung, die 6 V Heizspannung, Phantomspeisung und weitere Spannung für diskrete Schaltkreise. Diese herausragende Netzteil liefert die Grundlage für einen großen Dynamikumfang und "massive" Klangqualität. Alle Spannungen sind effizient reguliert und in Kombination mit geringen Leitungswiderständen optimal gegen Einstreuungen und Nebengeräusche aus dem Hochfrequenz-Netzteil geschützt. Das Universal-Schaltnetzteil akzeptiert jede Spannung und Frequenz und ermöglicht den Einsatz des Massive Passive weltweit ohne Anpassungen. Eigenschaften Limitierte Anniversary Edition des legendären Massive Passive Kobaltblaue Frontplatte mit Anniversary Lasergravur 4-Band Stereo Röhren-Equalizer Klangregelung in komplett passivem Schaltungsdesign Einzigartige Shelving-Kurven mit Bandbreiten-Steuerung Wahlweise überlappende oder getrennte Frequenzbereiche Für jedes Frequenzband Shelving- oder Glockencharakteristik wählbar Aufhol- und Ausgangsverstärker in Vollröhrentechnik Parallele, symmetrische Topologie Durchgängig hochwertige Bauteile Passive HP- und LP-Filter sowie Gain-Trim-Regler MANLEY POWER®-Schaltnetzteil

Novel chaotic oscillator has 8 types: Double Pendulum, Vortex, Pulsar, Discharge, Turbine, Helix, Crescent, and Magma Wavefolders based on the Buchla 259 Complex Waveform Generator, Fractals, and a special Animated Equation Low Pass Gate based on the Buchla 292 adds controls for POLES and RESONANCE Modulate all controls with MIDI/MPE, two Looping Envelopes, two LFOs, Sample and Hold/Random, and a Step Sequencer Innovative modulation UI allows modulation over almost every control from the main page, allowing up to 957 modulation routings in a single pane Innovative EQ, Chorus, Delay, Reverb, and Limiter effects to turn the sounds into magic MPE support allows amazing control from expressive controllers All mod sources have multiple outputs generated at once, and they can modulate each other, just like a modular synth Animations! The Double Pendulum, Wavefolder, and Low Pass Gate modules each have animations to show how each module responds to your input, and to modulation Color Schemes! Don’t like the look of it, change it Resizable UI Over 600 Presets, including many renowned artists

EQP-1A classical Pultec, vintage sound Designed and manufactured to the original specifications, this product has all the mojo of a vintage EQP-1A/EQP-1A3 EQ.

As described on the EQP-1A product page, the 3U EQP-1A was/is an enhanced version of the original (1953) Pultec product, the EQP-1. The EQM-1A (mastering version) takes the EQP-1/EQP-1A evolution a significant step farther by replacing the BOOST/ATTEN potentiometers with 21-position (and BW with 11-position) ELMA switches, loaded with precision metal film resistors to achieve custom tapers for each control. The current design implements our “full-range, progressive-taper” design, which provides 0.5 dB per step precision for the first 50% of rotation and then progressively larger (1 or 2 dB) steps as the control is rotated from 50% to 100% of rotation. This allows precise control for subtle equalization for mix bus or similar applications or the full 18-20 dB BOOST/ATTEN of the potted version when tracking or mixing of individual tracks. Furthermore, the stepped controls make recall a breeze and the precise tracking between units is essential for stereo image retention when using a pair on the stereo mix bus.

Since rereleasing the EQP-1A & EQP-1S, customers have asked when we planned to do mastering versions of these iconic 3U products. We are excited to introduce you to the mastering version of our ever-popular EQP-1S EQ, with a couple of extra tweaks. Complete with full-range progressive-taper Elma Switch stepped controls as in our EQM-1A3, EQM-1S3 & EQM-1A mastering EQs, the BOOST/ATTEN controls provide 0.5dB steps for the initial ~50% of rotation and then increase step size as rotation is increased from 50%-100%. This provides fine control (subtle boost/cut) for mastering/mix-bus applications, while still delivering the full range (16-20 dB) of BOOST/ATTEN for more aggressive tracking/mixing applications. In addition to adding mastering controls, we’ve replaced the 6k peak boost center frequency with the 16k center, which is so popular on the 1A/1A3 models. So whether your track/mix needs the magical 16k air band or the full 5k/10k shelf boost, you have the option in a single equalizer.We think we’ve created the ultimate Pultec and we believe you’ll agree!

As described on the EQP-1S3 product page, the 2U EQP-1S3 is an enhance version of the EQP-1A3. The EQM-1S3 (mastering version) takes the EQP-1S3 one step further by replacing the BOOST/ATTEN potentiometers with 21-position (and BW with 11-position) ELMA switches, loaded with precision metal film resistors to achieve custom tapers for each control. The current design implements our “full-range, progressive-taper” design, which provides 0.5 dB per step precision for the first 50% of rotation and then progressively larger (1 or 2 dB) steps as the control is rotated from 50% to 100% of rotation. This allows precise control for subtle equalization for mix bus or similar applications or the full 18-20 dB BOOST/ATTEN of the potted version when tracking or mixing of individual tracks. Furthermore, the stepped controls make recall a breeze and the precise tracking between units is essential for stereo image retention when using a pair on the stereo mix bus.

The 2U (3.5″ tall) EQP-1A3 is a condensed version of the 3U (5.25″ high) EQP-1A. In 1971, after 10 years of EQP-1A production and due to customer demand, Gene and Ollie rearranged controls and components to reduce the height of the popular equalizer. As indicated on the original EQP-1A3 product brochures “SAME PARTS, SAME SPECS”. The EQP-1A3 was the first product in the Pultec line that we brought back into production and has continued to be very popular. New York City’s Power Station had 24 of them in each control room! We now make them both, so you can take your pick. But be assured, they both have all that Pultec mojo that you are seeking.

In the early 1970s, after condensing the classic 3U model EQP-1A into the 2U form-factor model EQP-1A3 (same components, same specs), Pulse Techniques introduced a solid-state line amp version of the EQP-1A3. These units have exactly the same front end (input transformer and passive EQ section) but utilize a solid-state opamp (API 2520) gain stage driving a Triad output transformer, just like the originals. This version of the EQP-1A3 is actually preferred by some engineers for certain applications (kick, snare, bass, piano, etc.) and also serves as the core for our 500-series EQs. Many users of this version of the Pultec describe them as “more punchy” and having “a tighter low end” than the tube version. Pulse Techniques, LLC is the only company licensed to use genuine API 2520 opamps in their products. These EQs deliver plenty of the punch and mojo of their tube-amp counterparts, with just a slightly different flavor.

In 2014, due to customer demand, Pulse Techniques brought back into production the 3U EQP-1A program EQ. Many of our clients prefer the look and layout of the larger unit to that of the 2U EQP-1A3 and the EQP-1A has become one of our most popular units. Almost immediately after announcing the return of the EQP-1A, we started receiving requests for the EQP-1S, the 3U version of the EQP-1S3. For those not familiar with the (formerly) extremely-rare EQP-1S/EQP-1S3, these products have the same wide-bandwidth line amp as the EQP-1A/EQP-1A3 units, but have modified low-frequency boost/atten response curves, add 2 additional peak boost frequencies, and most-importantly add 2 high-frequency shelf boost curves to the sonic palette.

The (formerly) extremely-rare EQP-1S3 has the same wide-bandwidth line amp as the EQP-1A3, but has modified low-frequency boost/atten response curves, adds 2 additional peak boost frequencies (1k & 2k) and most-importantly adds 2 high-frequency shelf boost curves (5k & 10k corners) to the sonic palette. The originals included 6k peak boost in place of the 16k and that’s the way we built them initially. But we had so many requests from customers for the 16k and so little interest in the 6k that we now build them with the 16k peak boost center.

Pulse Techniques is pleased to offer the EQP-500X 500-series equalizer, the next generation of our API 2520 gain stage passive equalizers.In the early 1970s, after condensing the classic 3U model EQP-1A into the 2U form-factor model EQP-1A3, Pulse introduced a solid-state line amp version of the EQP-1A3. These units have exactly the same front end (input transformer and passive EQ section) but utilize a solid-state opamp (genuine API 2520) gain stage driving a Triad output transformer. Many users of this version of the Pultec describe them as “more punchy” and having “a tighter low end” than the tube version. Pulse has taken this proven design to the next stage by packing them into the 500-series form factor as the EQP-500X module. These may come in a smaller package, but don’t be fooled! These EQs deliver all of the punch, mojo and sonic impact of their full-sized counterparts.

Jack Douglas (John Lennon, Aerosmith, Alice Cooper, Cheap Trick, etc.) once told us that the MEQ-5 was his go-to EQ for guitars of any type. The MEQ-5 provides exacting control of the “power region” in program material, that frequency range from about 300 Hz to 5000 Hz in which most of the sound energy is concentrated. The ear is especially sensitive to sounds in this region. In this region, even small resonances in studio acoustics and microphone and speaker responses are very evident in their effect on the listenability of the sound. Three independent sets of controls make it possible to boost on a peak curve at 200 – 1000 Hz while simultaneously boosting on a peak curve at 1.5 – 5 kHz, while simultaneously dipping at 200 – 7000 Hz. Guitars, vocals, horns, strings, keyboards, snares, toms, anything with significant midrange that requires complex contouring is a candidate for the MEQ-5.

In the early 1970s, Pulse Techniques introduced a solid-state line amp version of the EQP-1A3. They followed the release of the EQP-1A3-SS with a similar version of the MEQ-5 (the MEQ-5-SS). These units have exactly the same front end (input transformer and passive EQ section) but utilize a solid-state opamp (API 2520) gain stage driving a Triad output transformer. The MEQM-5-SS is the mastering version. Like our other mastering products, the potentiometers have been replaced with custom taper 21-position precision rotary switches providing enhanced control and reproducibility of settings. Jack Douglas (John Lennon, Aerosmith, Alice Cooper, Cheap Trick, etc.) once told us that the MEQ-5 was his go-to EQ for guitars of any type. Just like the tube version, the MEQ-5-SS provides exacting control of the “power region” in program material, that frequency range from about 300 Hz to 5000 Hz in which most of the sound energy is concentrated. The ear is especially sensitive to sounds in this region. In this region, even small resonances in studio acoustics and microphone and speaker responses are very evident in their effect on the listenability of the sound. Three independent sets of controls make it possible to boost on a peak curve at 200 – 1000 Hz while simultaneously boosting on a peak curve at 1.5 – 5 kHz, while simultaneously dipping at 200 – 7000 Hz. Guitars, vocals, horns, strings, keyboards, snares, toms, anything with significant midrange that requires complex contouring is a candidate for the MEQ-5-SS.