key features
discrete Class-A transistor amplifiers
transformer saturation
progressive ratio control
hard and soft modes
seamless compression
bass mode
rich harmonic content & color
reasonable price
excellent on vocals
in detail
The DBC-20 is a new take on a vintage technique utilizing a gain reduction element of silicon diodes in a balanced bridge arrangement. The diode bridge is coupled via a "radio steel" laminated transformer of our own design. This element produces a desirable compression character that can best be described as tight, colourful and rich with harmonics. In the style of compressors from the 60's, the DBC-20 incorporates a self-adjusting ratio whereby the compression ratio is progressively increased with deepening gain reduction. This feature allows for the control of very dynamic signals (such as vocals) in a seamless fashion. The DBC does sound very vintage but does not carry the vintage price tag!
The DBC-20 audio path uses our Class A discrete amplifier design in a balanced configuration from input to output. Operation of the compressor is easy with six switched attack and release times, a big knob for the amount of compression and an output gain control. The compressor can be switched to a Soft mode whereby dynamic peaks are partially retained. Another switch introduces a high pass filter to the side chain to lower compression sensitivity at low frequencies. These features make the DBC an ideal tool for manipulating drum sounds and samples.
Each channel has a bypass switch and the side chain of the two channels can be linked for stereo operation. The large knobs with pointers allow for accurate resetting of the compressor and the fast response 15 LED bar graph meter accurately displays gain reduction.
controls
Gain - variable pot that adds gain at the output to correct for lost level with 15dB range.
Compression - variable pot that sets the amount of compression.
Attack - rotary switch with 6 settings, FAST (less than 0.5mS)-5mS-10mS-15mS-25mS-50mS.
Release - rotary switch with 6 recovery time settings, 50mS-100mS-200mS-400mS-600mS and AUTO.
Hard/Soft - adds dynamics in soft mode for times when light compression is required.
Flat/Bass - reduces compression sensitivity at low frequencies.
Bypass/Engage - hard wire unit bypass to compare compressed and uncompressed signals.
There is also a handy power On/Off switch and the Link A/B which provides for stereo tracking to prevent image shift when used on the mix buss.
Hol Dir 11 UAD Plug-ins KOSTENLOS beim Kauf eines UA Mikrofons Beim Kauf eines beliebigen Mikrofons der Standard-, Sphere-, oder Bock-Series erhältst Du das neue UAD Essentials Edition Plug-in Bundle mit 11 UAD Plug-ins, darunter klassische Teletronix LA-2A Compression, Pultec EQs, Oxide Tape Recorder und weitere. Ein Wert von 325€, absolut kostenlos! Details und Einschränkungen: Das Angebot gilt nur für Kunden, die zwischen dem 1. Oktober und dem 30. Juni 2024 ein berechtigtes Standard Series, Sphere Modeling, oder Bock Mikrofon bei einem autorisierten UA Händler kaufen.
Die Krönung klassischer Chorus-, Flanger-/Doubling- und Tube
Tremolo-Effekte.
Mit Astra Modulation Machine sind Universal Audios Ingenieure in die
Tiefen der analogen Modulationseffekte abgetaucht und haben die authentischsten
Bucket-Brigade Chorus/Vibrato, Studio-Flanger/Doubler und röhrengetriebene
Tremolo Effekte entwickelt, die jemals in einer Stompbox verbaut wurden.
Aufgebaut auf dem leistungsstarken UAFX Dual-Engine Processing für
unübertroffenen analogen Realismus, liefert Astra süchtig machende Vintage
Modulation Sounds, die über Jahrzehnte hinweg inspirieren werden.
Chorus Brigade
Legendäre japanische Modulation
Astra bietet Usern die vollständigste Schaltungsemulation der legendären
grauen Bucket Brigade Chorus Stompbox. Mit einer perfekt emulierten Schaltung —
einschließlich der Vorverstärkersektion für authentisch satte, gesättigte
Sounds — können User ihre Sounds mit dem dicken, üppigen Chorus und dem
wellenförmigen Vibrato eines berühmten Modulationseffekts der 70er Jahre
verfeinern.
Flanger/Doubler
Ein Rackmount-Studioklassiker
Classic Rackmount Studio Flanger/Doubler ist berühmt für atemberaubende
Whosh-Effekte, organisches Verdicken und eine Vielzahl wilder Sounds, die über
typische Flanger-Boxen hinausgehen. Der Flanger/Dblr-Effekt von Astra ist die
einzige durchgängige Schaltungsemulation dieses ultraseltenen Geräts, die alle
seine ursprünglichen Qualitäten einfängt und Dir dichtes, komplexes
Flanging/Doubling direkt zu Füßen legt.
Trem 65
Authentisches Tube Amp "Shake"
Trem 65 ist eine originalgetreue Emulation des optischen,
röhrengetriebenen Tremolos amerikanischer Verstärker der 60er Jahre. Von
schimmernden Wellen bis zu abgehacktem Chaos hat UA jedes Detail eingefangen,
inklusive den komplexen Interaktionen zwischen dem Fotowiderstand und der
12AT7-Treiberröhre. Darüber hinaus können User ihre eigenen Trem-Texturen mit
variablen Sinus- und Square-Wave Einstellungen noch weiter erkunden und
erschaffen.
Dual Stereo Modulation Engines für endlose Kreativität
Astras UAFX Engine betreibt dank dem einzigartigen Dual Engine
Processing separate Stereoinstanzen für jeden Modulationseffekt. Es ist so, als
ob zwei Bucket-Brigade Hardware-Einheiten gleichzeitig laufen, die dem Benutzer
eine volle Stereobreite von komplexen, atemberaubenden Texturen bieten.
Eine State-of-the-Art Stompbox
Mit modernen, leistungsstarken Funktionen wie Wandlung in
Studioqualität, Dual Processing Engines, Live/Preset Modi, sowie wählbarem True
oder Buffered Bypass und Tap Tempo Fußschalter Modus über die UAFX Control App,
hat Astra Modulation Machine alle Farben, die man braucht, um ein klangliches
Meisterwerk zu malen.
Bitte beachte, dass die Astra Modulation Machine ein modernes isoliertes
400-mA-Netzteil benötigt (separat erhältlich).
Hauptmerkmale
·
Flaggschiff, kompromisslose Stompbox mit den authentischsten Bucket
Brigade- und röhrengetriebenen Tremolo-Effekten, die je in einem Effektpedal
eingefangen wurden
·
End-to-End Emulation des legendären japanischen Chorus/Vibrato-Pedals
·
Vollständige Schaltungserfassung des legendären 70er Jahre Rackmount
Studio Flanger/Doubler
·
Vollständiges Model des röhrengetriebenen optischen Tremolos aus
klassischen amerikanischen Verstärkern der 60er Jahre
·
Silent-Switching, Preset Fußschalter-Modus zum Speichern und Abrufen
deines Favoriten-Settings
·
Die UAFX Control Mobile App ermöglicht das Umschalten zwischen True- und
Buffered-Bypass und den Zugriff auf den Preset + Tap Fußschaltermodus für
temposynchrone Effekte
·
Kostenlose Phaser X90 und Dharma Trem 61 Effekte bei Registrierung
Spezifikationen
·
Stromversorgung: Isolierte 9VDC, Centrer-Negativ, mindestens 400mA
(separat erhältlich)
·
Eingänge: 2 x 6,35mm TS Klinke (rechter Eingang für Stereoanschlüsse)
·
Ausgänge: 2 x 6,35mm TS Klinke (rechter Ausgang für Stereoanschlüsse)
·
USB Typ-C für Updates über Computer
·
Höhe: 6,5 cm (2,56")
·
Breite: 9,2 cm (3,62")
·
Tiefe: 14,1 cm (5,55")
·
Gewicht: 0,567 kg (1,24 lbs)
Features:
The LED meter now has improved resolution with 0.25dB steps up to -2dB gain reduction, then 0.5dB steps up to -6dB.
The GAIN control now has smaller steps, 0.25dB increments up to +4dB gain, then 0.5dB up to +8dB.
audio path color
The DBC-M is a Mastering version of the popular Buzz Audio DBC-20 diode bridge compressor and offers fully switched control for repeatable settings. The diode bridge gain reduction element coupled with our innovative side chain design delivers a vintage vibe like no other. The DBC-M audio path uses our Class A discrete amplifier designs in a balanced configuration from input to output with a radio steel laminated transformer to couple into the diode bridge element. This overall combination produces a desirable compression character that can best be described as tight, colourful and rich with harmonics.
dynamic ratio power
In the style of compressors from the 60's, the DBC-M incorporates a automatic ratio whereby the compression ratio is progressively increased with deepening gain reduction. This feature allows for the control of very dynamic signals in a seamless fashion and is also a very desirable characteristic when used on complex percussive material.
operational ease
This compressor is easy to get happening with six switched attack and release times covering a wide range, including an interesting auto release mode. Big knobs with 24 position stepped Elma controls are provided for the amount of compression and the output gain. The compressor can be switched to a Soft mode whereby dynamic peaks are partially retained and another switch introduces a high pass filter to the side chain to lower compression sensitivity at low frequencies. The attractive "point source" red LED bar graph meter accurately displays gain reduction and the gloss finish knobs adds to the vintage feel of the DBC-M.
GAIN - 24 position Elma switch that adds gain at the output to correct for lost level with a range of 0-8dB in small steps.
COMPRESSION - 24 position Elma switch that sets the amount of compression, increasing gain reduction with clock wise rotation.
ATTACK - rotary switch with 6 settings, FAST (less than 0.5mS)-5mS-10mS-15mS-25mS-50mS.
RELEASE - rotary switch with 6 recovery time settings, 50mS-100mS-200mS-400mS-600mS and AUTO.
HARD/SOFT - adds dynamics in soft mode for times when very light compression is required.
FLAT/BASS - reduces compression sensitivity at low frequencies for more bass punch, approx 8dB at 100Hz.
BYPASS/ENGAGE - hard wire unit bypass to compare compressed and uncompressed signals.
LED METER - gain reduction is displayed in 0.25dB steps up to -2dB and 0.5dB steps to -6dB.
LINK A/B - links the side chains to prevent image shift when used on stereo material where there may be heavy channel to channel volume differences.There is also a handy power ON/OFF switch on the front panel where it should be!
Features
Low noise Class A FET amplifier
28 dB amplification
XLR input/output
Custom nickel core transformer
Frequency response 30hz-100 kHz
Circuit is powered with 48V phantom power
PhilosophyFetHead Transformer is a high quality inline microphone preamplifier. It provides a very warm andthick yet articulate sound for dynamic and ribbon microphones. FetHead Transformer’s desirablecharacter is a really great addition to (interface) preamps which sound rather neutral. Our tried andtrue FET technology combined with a custom wound nickel core transformer delivers 28dB oftransformer infused gain.
OperationYour Fethead Transformer will latch straight onto any XLR equipped microphone, or anywhere else inthe signal path between microphone and preamp/mixer. The electronics are housed in a robust metalchassis with a balanced female XLR input and a balanced male XLR output, rugged enough for use athome, in the studio or on tour.
Recommended applicationOur FetHead Transformer is recommended in the following situations:
For tracking vocals and making podcasts
Adding transformer sound to your signal chain
Recording direct into a DAW interface
Mixers/preamps that negatively impact the sound at higher gain setting
Adding warm and thick focus to the sound source
Circuit topologyOur FetHead Transformer utilizes a low noise Class A FET amplifier with a nickel core outputtransformer. A low impedance output buffer provides output drive to long cables.
Black Lion Audio präsentiert mit der PBR Serie drei neue Patchbays im Rackformat. Unter anderem die PBR TRS-BT mit 46 symmetrischen Klinkenanschlüssen und einem Bluetooth®-Modul. Zum Erhalt der höchsten Klangqualität in der Signalkette wurden Bauteile und Verarbeitung klassischer Patchbays weitestmöglich optimiert. Mit ihrem praktischen und eleganten Design aus schwarz eloxierter Aluminium-Frontplatte und vergoldeten Anschlussbuchsen fügen sich die Patchbays der PBR Serie hervorragend in jedes anspruchsvolle Studio ein.
Funktionen:
Patchbay mit 46 symmetrischen Klinkenanschlüssen
Bluetooth®-Kompatibilität für drahtlose Übertragung in die Signalkette
Bluetooth®-Modul ausgestattet mit besten Codecs für verlust- und kabelfreie Audio-Übertragung
alle Vorzüge klassischer Patchbays bei hochwertiger Verarbeitung und Klangqualität
Einbindung von Quellen und Klangerzeugern mühelos von Smartphones und Tablets in Studio-Umgebung
Optimierung von Bauteilen und Verarbeitung herkömmlicher Patchbays
Umschaltung der Normalisierungsmodi auf der Rückseite per Knopfdruck
Alle Anschlüsse vergoldet
Frontpanel aus schwarz-eloxierten Aluminium
Vielseitiges Routing mit herausragender Klangqualität
Gewicht: 1,4 kg
Maße (L x B x H): 53 cm x 10 cm x 5 cm
Germanium microphone preamp
FetHead Germanium is a high quality, in-line microphone preamplifier. It provides a punchy and direct, ‘larger than life’ germanium sound for ribbon and dynamic microphones, adding classy Germanium harmonics. Sounding full and rich it is reminiscent of much higher priced vintage gear, making FetHead Ge's desirable coloration a really great addition to (Interface) preamps which sound rather neutral.
Germanium flavour
Germanium transistors were widely used in earliest transistor designs by Neve, EMI, Telefunken, and Fairchild, and have developed a reputation for a decidedly vintage mojo that remains sought after today. We created a novel hybrid circuit that consists of low noise JFets and a hand-selected ‘new old stock’ germanium transistor to take full advantage of the "Germanium" sound and at the same time achieve the same sonic quality we are known for.
Protects the microphone
Some ribbon microphone do not tolerate phantom power. FetHead Germanium circuit uses 48v phantom power but shields it from the microphone, your microphone is protected.
Germanium microphone preamp
For Ribbon and Dynamic microphones
Great addition to neutral sounding preamps
New old stock Germanium transistor
29dB amplification
Shielded Enclosure
Easy install - 2 clicks and done
PRO TOOLS STUDIOPerpetual (Dauerlizenz) mit Updates & Support PlanESDPro
Tools ist die weltweit am häufigsten verwendete und ausgezeichnete
Audioproduktionssoftware für Musik, Filme und Fernsehsendungen und
bietet alles, was zum Erstellen, Aufnehmen, Bearbeiten und Abmischen
benötigt wird. Mit einer umfangreichen Sammlung von Plugins,
Instrumenten und Sounds kann ganz einfach Musik gemacht werden. Mit den
integrierten Audioschnittstellen und Steuerungsoberflächen, auf die sich
Profis seit Jahren verlassen, sind höchste Klangqualität und
Geschwindigkeit garantiert.Im Lieferumfang ist der Updates & Support Plan für 12 Monate enthalten, welcher zusätzlich folgende Leistungen bietet:
Alle Software Updates innerhalb des Zeitraums
Standard Support (online)
Complete Plugin Bundle
Pro Tools PlayCell, GrooveCell und SynthCell
HEAT
Zugriff auf den Inner Circle
Der Updates & Support Plan kann jederzeit mit einem
Perpetual Upgrade (AVPTUPVESD) um jeweils 12 Monate verlängert werden,
auch wenn der bisherige Plan schon abgelaufen ist. Wird der Plan nicht
verlängert, kann die Pro Tools Lizenz als solche natürlich weiterhin mit
der zuletzt zur Verfügung gestellten Version, als der Plan noch aktiv
war, verwendet werden. Dem Anwender stehen dann alle Pro Tools
Werks-Plugins zur Verfügung, nicht jedoch alle Zusatzleistungen, die an
den Updates & Support Plan gebunden sind. Ein Perpetual Upgrade
bringt die Dauerlizenz wieder auf den aktuellen Stand.Systemanforderungen Stets aktuelle Infos: https://avid.secure.force.com/pkb/articles/compatibility/Pro-Tools-System-RequirementsEinlösen des Lizenzcodes So aktivieren Sie Ihren Pro Tools-Lizenzcode: https://avidtech.my.salesforce-sites.com/pkb/articles/en_US/How_To/Pro-Tools-Redemption?retURL=%2Fpkb%2Farti_1
Ausbaustufe
Pro Tools Studio
Audio Spuren
512
Aux Spuren
128
Instrument Spuren
512
MIDI Spuren
1.024
VCA Spuren
128
Master Spuren
64
Video Spuren
1
Routing Folder
128
Native Ein/Ausgänge
64
Support
Standard (alle Updates innerhalb des Zeitraums, Online Support)
Unterstützte Hardware
nativ (Core Audio/ASIO) + Carbon + S6L
DigiLink Lizenz
-
Surround/Atmos/Ambisonic Mischungen
ja
Clip FX
Clip FX Editing
Bounce Mix Multistem
ja
AAF/OMF Import/Export
ja
Pro Tools Sketch
ja
Mitgelieferte Plugins
Complete Bundle (Artist Bundle + Pro Series + 304 + X-Form + Revibe
II) - an einen gültigen Updates & Support Plan oder Subscription
gebunden
HEAT
ja - an einen gültigen Updates & Support Plan oder Subscription gebunden
GrooveCell/SynthCell Virtuelle Instrumente
ja - an einen gültigen Updates & Support Plan oder Subscription gebunden
Celemony Melodyne 5 essential
ja - an einen gültigen Updates & Support Plan oder Subscription gebunden
SoundFlow Cloud Avid Edition
ja - an einen gültigen Updates & Support Plan oder Subscription gebunden
Inner Circle
ja - an einen gültigen Updates & Support Plan oder Subscription
gebunden - nicht bei Mehrplatzlizenzen (EDU Institute und Multiseat
Lizenzen)
Sonic Drop
ja - an einen gültigen Updates & Support Plan oder Subscription
gebunden - nicht bei Mehrplatzlizenzen (EDU Institute und Multiseat
Lizenzen)
EUCON Kompatibilität
ja
iLok Schutz
ja, iLok Cloud oder physischer iLok
Pulse Techniques recently introduced a 500-series version (EQP-500X) of our popular 19″ rack-mount solid-state line amp program equalizers (EQP-1A3-SS & EQP-1S3-SS) equalizers. Based on the venerable API 2520 op-amp followed by a high-quality Triad output transformer, these are preferred by some engineers to the vacuum tube models. Before bringing the MEQ-5 midrange equalizer into the 500-series family, we discussed the project with legendary producer/engineer Jack Douglas (John Lennon, Aerosmith, Alice Cooper, Cheap Trick, etc.). Jack has indicated previously that the MEQ-5 has been a staple of his guitar, bass, vocal and keyboard sounds over the years. With Jack’s input, we made a few enhancements to the standard MEQ passive EQ section, which included the addition of 1.2k and 1.5k centers to the low-mid, addition of 1.2k and 8k to the high-mid (overlaps low-mid section and expands top-end) and some minor tweaks to the Q of the high-mid settings. We are proud to recognize Jack Douglas with the production of the MEQ-500 Jack Douglas Edition 500-series Midrange Equalizer.Just like the tube and rack-mount solid state versions, the MEQ-500JD 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-500JD.
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!
The MEQM-5 is the mastering version of our popular MEQ-5 midrange equalizer. 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. The MEQM-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 MEQM-5.
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.
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.
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.
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.
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.
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.
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.
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.
Der A 225-M ist die optimale Ergänzung für alle PSI Lautsprecher. Er kann sowohl als Mono-Subwoofer in einer Surround-Anordnung oder als Basserweiterung in einem Stereo-System verwendet werden. Alle PSI Lautsprecher sind mit einem regelbaren Bassfilter für die Anpassung an den A 225-M vorbereitet. Die untere Grenzfrequenz Systems sinkt dann auf unglaubliche 28 Hz ! Um Stabilität zu gewährleisten und Gehäuseresonanzen zu vermeiden, ist der A 225-M im 2 Boxen-Design gefertigt. Eine perfekte Tiefbass-Erweiterung für jedes Monitor-System. Viel Druck, gepaart mit Dynamik und Präzision. Einsatzbereiche Subwoofer in SurroundInstallationen Basserweiterung für StereoSysteme Recording / Mastering Technik Aktiver Subwoofer Magnetisch geschirmt Integriertes AOI (Adaptiv Output Impedance) PSC (Phantom Standby Control) ALG (Ideal Acoustic Impedance Adaptation) System 2Gehäuse Design Power RMS 200 W Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
FEATURES
Herausragende Linearität und Impulstreue
Hohe räumliche Auflösung
Klang- und Mix-Kompatibel mit Lautsprechern der KH-Line
Hoher Langzeit-Tragekomfort
Intern symmetrisches, stoffummanteltes Kabel (abnehmbar)
Faltbar für leichten Transport
Features:
Power: 225W
Frequency Range: 28Hz – 100Hz
SPL Max: 106dB
100% Analog – No DSP
Flat frequency response
Phase compensated for a better stereo image
Class G Amplifiers
Built in anti-resonance system in a double box cabinet
individually calibrated
Typical listening distance: from 1m
Handmade in Switzerland
The new AVAA C214 active bass trap stands alongside its world-renowned sibling, the C20. The innovative AVAA technology eliminates room modes from 15 Hz to 160 Hz without the need for calibration or tuning. The result is much cleaner bass response in demanding listening environments such as professional studios or audiophile environments. While C20 uses pure analog technology, C214 uses innovative digital technology and employs smaller diaphragms for an even more compact design. Thanks to the integration of digital technology, AVAA C214 can be controlled via an app on a smartphone or tablet, further enhancing its outstanding sonic performance.
The PSI Audio A-14 M is the smallest member of the PSI Active Monitor Series. Despite its compact dimensions of the PSI Audio A-14 M a reliable reference for the evaluation of audio signals. The A-14 M PSI Audio üerträgt the entire frequency spectrum with a high sound üerraschend. The PSI Audio A M-14 has all the technologies of its "great Bruer," and is ideally suited fu studio use.Wherever high accuracy, small footprint and mobility are required.Key Data:Dimensions cabinet W x H x D mm : 163 x 243 x 170Gross / Net Weight : 6.2 / 5.5 kgResponse at -6dB : 56 - 22000 HzContinuous Max SPL, 1m : 101 dB (single)Program Max SPL, 1m : 112 dB (pair)Woofer's dim. Ext. / Diaphragm : Ø 147 mm / Ø 104 mm Key Features: Protection circuits with overload indicator.Magnetically shielded for use close to video monitors.Metal handle for easy handling and for mic. stand or installation.Volume control on the front panel.Designed for stereo and multichannel monitoringOptimised directivity by phase coherency.Flat frequency response Real balanced input.CPR, AOI, ALG, PSC*For more information, please visit this products webpage.
VersandrückläuferThe MT 48 is an audio interface without compromise. With its huge dynamic range, superior converters, preamps and headphone amplifiers, it sets new standards in sound quality. Internal DSP power allows for monitor mixes with sophisticated EQ and dynamics processing – all intuitively controlled via touchscreen.
Class-leading AD/DA converters with enormous dynamic range
Intuitive touchscreen user interface
DSP processing (EQ, dynamics, reverb)
4 independent mixers with integrated talkback
USB, ADAT and AES67 connectivity
Contents:
MT 48 Audio Interface
Softcase
EU Power Supply incl. USB-C connection cable
USB-A data cable
USB-C data cable
Quick Guide
Safety Guide
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
The WA-84 is a precise reproduction of the industry standard small-diaphragm condenser mic. Unlike modern transformerless recreations, vintage units are prized for the rich & detailed tone that delivers smooth yet detailed high end. Like the original, the WA-84 delivers that signature SDC sound trusted by artists and engineers on legendary recordings by James Taylor, Fleetwood Mac, Paul Simon, Steve Gadd and many more.Like the original vintage units, the WA-84 delivers open clarity with powerful noise rejection. Unlike modern reissues that skip the transformer and “update” the circuit, the WA-84 captures creamy smooth top-end and the BEEFY mid to bottom-end that made the original the studio legend that it is. The class-A circuitry, premium transformer, and meticulous design allow the WA-84 to capture precise detail in performances with professional sound isolation. The slight 8 - 10 kHz dip / 11 - 20 kHz bump smooths out harsh highs without any lost brilliance.
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.
AT LONG LAST… BURL Audio is proud to announce the new B4 4-channel MIC/LINE input daughter card for the B80 and B16 MOTHERSHIPs. The B4 boasts the new BX6 input transformer designed for true MIC/LINE input impedance. The B4 maintains a no compromise, class-A analog circuit, followed by the same ADC we use in the BAD8. Using a single B80 chassis, 40 input channels of audiophile MIC/LINE inputs can be realized. With digital control and SoundGrid or Dante, the B80 MOTHERSHIP with the B4 MIC/LINE daughter card is the ultimate studio grade stage box.
Locomotive Audio 14B printed circuit board version - A Vari-Mu Compressor That Will Make Your Vocal Sit Perfectly. The Real Sound of Vari-Mu Tube Compression at Your Fingertips. Just like its popular vintage inspirations, the Gates Sta-Level, UA 175B, RCA BA-6A and Collins 26U, the results are a sound that cannot be replicated with any other method of gain reduction. The Locomotive Audio 14B delivers!
TRANSFORMERS Super premium MuMetal shielded input and interstage transformersSPEED & TONE Fast UA 175B attack meets smooth Gates Sta-Level OutputLOW CUT FILTER Adjust & cut the low frequencies that trigger compressionSTEREO LINK Use the 14B aggressively on your stereo room mics and overheads or gently on your mix bus
Features:
Stereo Link switch
Sidechain Low Cut filter control: Off and 70-350Hz
Hard-wire bypass switch
Compression turned off with full counterclockwise attack position, switching to line amplifier
Two position Compress-Limit Switch
Two position VU meter switch: Gain Reduction - Output
6BC8 balance adjustment on interior of unit
Custom Sifam backlit VU meter
XLR input and output connections
Custom MuMetal shielded input and interstage transformers
Custom output transformer
Hand-built in USA
Heavy 16 gauge steel chassis
115v/230v AC mains option on rear
Lifetime warranty parts and labor
€2,429.00*
€2,559.00*
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