{"title":"Mercury","description":null,"products":[{"product_id":"mercury-66-limiting-amplifier","title":"Mercury 66 Studio Tube Limiting Amplifier","description":"\u003cp\u003eThe \u003cstrong\u003eMercury 66 Studio Tube Limiting Amplifier\u003c\/strong\u003e is an all-tube, all-transformer, fully balanced, variable-bias limiter based on the most sought after product in this genre, the legendary Fairchild 660. This limiting amplifier is recognized as an essential tool for making great recordings. Many manufacturers have tried to copy the Fairchild circuit but have failed to capture the sonic essence and overall tone of the original. Until now.\u003c\/p\u003e  \u003cp\u003eMercury Recording Equipment has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a modern build. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? So, the Mercury 66, like all Mercury products, has no ICs (chips), and is proudly hand built and assembled in the USA using no-compromise parts\/components and has transformer balanced inputs and outputs. With the vintage style VU meter, large bakelite knobs and powder coated chassis and front panel, the Mercury 66 has a very distinctive 1950s aesthetic so that they look as good as they sound!\u003c\/p\u003e  \u003cp\u003eThe 66 uses a single push-pull stage of amplification which are transformer coupled input and output (XLRs) with no capacitors in the signal path, with a high control voltage. The result: the unit never produces any audible thumps, and has low distortion and noise under all conditions (either as a limiter or straight-through amplifier). The control amplifier is also fully balanced, transformer coupled in\/out. The unit makes use of a very stable high current vacuum tube voltage regulator. It has ample and accessible input, threshold, attack, release time and metering controls allowing for convenience in the control room when making adjustments. The attack time is very fast and catches short transients. The release time of 0.3 to 25 seconds provides real flexibility: Three positions of the six available make the release time a function of program material, with fast recovery for short duration peaks and overall reduction of program level should the program level remain high. It can be used as a limiter or compressor. For example, use it as a 2 to 1 ratio compressor with a threshold 5 dB below average level, or as a peak limiter with a 20 to 1 ratio with threshold 10 dB above normal program level, or anywhere between these extremes.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449245003879,"sku":"51042","price":12660.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_m66_mkiii.jpg?v=1787088291"},{"product_id":"mercury-am16","title":"Mercury AM16","description":"\u003cdiv\u003e\n\u003cp\u003eThe \u003cstrong\u003eMercury AM16\u003c\/strong\u003e is a 19\" rack mountable version of the original American, modular, transistor type preamplifier built in the 1960s. The AM16 is well known for being over all very musical, open and airy on the top end and having a tube-like \"air\" characteristic not found in most amplifiers of the same type. The Mercury AM16 is available in both two-channel and one-channel (AM16\/1) versions.\u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449245036647,"sku":"6166","price":1949.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_am16_1.jpg?v=1787088291"},{"product_id":"mercury-am16-1","title":"Mercury AM16\/1","description":"\u003cp\u003eThe \u003cstrong\u003eMercury AM16\u003c\/strong\u003e is a 19\" rack mountable version of the original American, modular, transistor type preamplifier built in the 1960s. The AM16 is well known for being over all very musical, open and airy on the top end and having a tube-like \"air\" characteristic not found in most amplifiers of the same type. The Mercury AM16 is available in both two-channel and one-channel (AM16\/1) versions.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449245069415,"sku":"6167","price":1095.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_am161_1.jpg?v=1787088291"},{"product_id":"mercury-grand-pre","title":"Mercury Grand Pre","description":"\u003cp\u003eThe \u003cstrong\u003eMercury Grand Pre\u003c\/strong\u003e is more open and musical than other similar amplifiers of the same type and\/or topology. The Mercury Grand Pre is not another \"Twelve Seventy Two\" clone. Instead, the Grand Pre is the new, alternative British classic! \u003cbr\u003e\u003cbr\u003e The Mercury Grand Pre is available in both two-channel and one-channel (GP1) versions.\u003c\/p\u003e\n\n\u003cp\u003eThe Mercury Grand Pre is 19\" rack mountable and housed in a beautiful, gray hammer finish, steel chassis. The aluminum front (control) panel has a custom powder coated finish giving the Mercury Grand Pre the look and feel of the era it comes from with a twist. The Grand Pre has the \"look\" of a classic hot rod with it's black, red and chrome color scheme. \u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449245102183,"sku":"5882","price":1949.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_grand_pre2_1.jpg?v=1787088291"},{"product_id":"mercury-m72s-studio-microphone-amplifier","title":"Mercury M72s Dual-Channel Tube Microphone Preamp","description":"\u003cp\u003eThe \u003cstrong\u003eMercury M72s\u003c\/strong\u003e is Mercury's flagship, dual-channel, valve studio microphone amplifier. The M72s is based on the most sought after vintage amplifier module — the Telefunken\/Siemens V72s—which is most famous for being installed in REDD.37 consoles, used on all the early Beatles recordings by George Martin at Abbey Road Studios in London, England.\u003c\/p\u003e  \u003cp\u003eThe Mercury M72s is based on the module used in consoles which are very rare due to a minimal amount made. The more common V72 amplifier modules (not marked with the lower case s, i.e. V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a \"secret weapon\" for many studio musicians.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTHE M72S IN DETAIL\u003c\/h3\u003e  \u003cp\u003eThe gain of the M72s is variable from 28 dB to 58 dB, in 3 dB increments, controlled with a high-quality rotary switch. Also, there is an option of a selectable input pad of -16 dB or -28 dB for even more control. Additionally, when the -28 dB pad is engaged and it is set at the lowest gain setting (28 dB) you can run signal through the M72s to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples, etc. There are also all the modern features including Phantom Power (on\/off), phase (polarity) reversal, and an amazing sounding FDI (FET direct input) circuit per channel.\u003c\/p\u003e  \u003cp\u003eThe FDI is a proprietary JFET circuit, based on a Class A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury's custom, massive input transformers, so that the individual character of each preamp comes through.\u003c\/p\u003e  \u003cp\u003eThe Mercury M72s has the rich lows and punchy mids giving you that 'instant' vocal tone, or assisting with a realistic acoustic guitar tone, punch to bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The M72s has that \"vintage\" tone and break up like the original circuit but it is a bit more musical over all (not cleaner, but more musical—there is a huge difference).\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449245134951,"sku":"1458","price":5488.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_m72s.jpg?v=1787088292"},{"product_id":"mercury-m72s-1-studio-microphone-amplifier","title":"Mercury M72s\/1 Mono Tube Microphone Preamp","description":"\u003cp\u003eThe \u003cstrong\u003eMercury M72s\/1\u003c\/strong\u003e is Mercury's flagship, single-channel, valve studio microphone amplifier. The M72s\/1 is based on the most sought after vintage amplifier module — the Telefunken\/Siemens V72s—which is most famous for being installed in REDD.37 consoles, used on all the early Beatles recordings by George Martin at Abbey Road Studios in London, England.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe Mercury M72s\/1 is based on the module used in consoles which are very rare due to a minimal amount made. The more common V72 amplifier modules (not marked with the lower case s, i.e. V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a \"secret weapon\" for many studio musicians.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eTHE M72s\/1 IN DETAIL\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe gain of the M72s\/1 is variable from 28 dB to 58 dB, in 3 dB increments, controlled with a high-quality rotary switch. Also, there is an option of a selectable input pad of -16 dB or -28 dB for even more control. Additionally, when the -28 dB pad is engaged and it is set at the lowest gain setting (28 dB) you can run signal through the M72s\/1 to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples, etc. There are also all the modern features including Phantom Power (on\/off), phase (polarity) reversal, and an amazing sounding FDI (FET direct input) circuit per channel.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe FDI is a proprietary JFET circuit, based on a Class A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury's custom, massive input transformers, so that the individual character of each preamp comes through.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe Mercury M72s\/1 has the rich lows and punchy mids giving you that 'instant' vocal tone, or assisting with a realistic acoustic guitar tone, punch to bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The M72s\/1 has that \"vintage\" tone and break up like the original circuit but it is a bit more musical over all (not cleaner, but more musical—there is a huge difference).\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449245167719,"sku":"6164","price":3278.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury-m72s1_6164_1_246828cd-6c64-4627-9b77-e2ba544c510d.jpg?v=1787088292"},{"product_id":"mercury-m76m-dual-channel-studio-microphone-amplifier","title":"Mercury M76m Dual-Channel Tube Microphone Preamp","description":"\u003cp\u003eThe \u003cstrong\u003eMercury M76m\u003c\/strong\u003e is is based on one of the most sought after vintage amplifier modules, the Telefunken\/Siemens V76m. These modules were used in European broadcast and recording studios in the late 1950s and 60s. Later, after tube consoles where out of favor and replaced by discrete, transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in the studios around the world.\u003c\/p\u003e  \u003cp\u003eInspired by the vintage tone, craftsmanship the M76m focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The latest iteration of the M76m was stripped of a few vintage inspired, aesthetic extras extras of previous versions but is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers Mercury have used since they started building the first M76m.\u003c\/p\u003e  \u003cp\u003eThe Mercury M76m is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on 20+ years of experience repairing, rebuilding, and most importantly listening to the Telefunken\/Siemens V76 modules it was Mercury's first priority to build a modern studio microphone amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tubes per channel.\u003c\/p\u003e  \u003cp\u003eWith the addition normal modern features, such as Phantom Power, phase, as well as many new features such as Level Control and a High\/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTHE M76M IN DETAIL\u003c\/h3\u003e  \u003cp\u003eThe M76m has Gain Control from 0 to +60 dB in 6 dB increments, works in conjunction with the Level Control and Output Attenuation. The Level Control, which will work as a fader, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical (tube) \"break up\" by decreasing your level (control) and increasing the (course) gain. The Output Attenuation Control (-0 to -10 dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings. Mercury have also added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on\/off) , phase (polarity) reversal, and the amazing sounding FDI (FET direct input) circuit.\u003c\/p\u003e  \u003cp\u003eThe Mercury FDI is a proprietary JFET circuit based on a Class A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury's custom, massive input transformers, so that the individual character of each preamp comes through.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449245200487,"sku":"1533","price":7848.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_m76m_mkiii.jpg?v=1787088292"},{"product_id":"mercury-m76m-1-studio-microphone-amplifier","title":"Mercury M76m\/1 Mono Tube Microphone Preamp","description":"\u003cp\u003eThe \u003cstrong\u003eMercury M76m\/1\u003c\/strong\u003e is is based on one of the most sought after vintage amplifier modules, the Telefunken\/Siemens V76m. These modules were used in European broadcast and recording studios in the late 1950s and 60s. Later, after tube consoles where out of favor and replaced by discrete, transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in the studios around the world.\u003c\/p\u003e  \u003cp\u003eInspired by the vintage tone, craftsmanship the M76m\/1 focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The latest iteration of the M76m\/1 was stripped of a few vintage inspired, aesthetic extras extras of previous versions but is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers Mercury have used since they started building the first M76m\/1.\u003c\/p\u003e  \u003cp\u003eThe Mercury M76m\/1 is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on 20+ years of experience repairing, rebuilding, and most importantly listening to the Telefunken\/Siemens V76 modules it was Mercury's first priority to build a modern studio microphone amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m\/1 has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tubes per channel.\u003c\/p\u003e  \u003cp\u003eWith the addition normal modern features, such as Phantom Power, phase, as well as many new features such as Level Control and a High\/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m\/1 is the benchmark of modern tube microphone amplifiers.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTHE M76m\/1 IN DETAIL\u003c\/h3\u003e  \u003cp\u003eThe M76m\/1 has Gain Control from 0 to +60 dB in 6 dB increments, works in conjunction with the Level Control and Output Attenuation. The Level Control, which will work as a fader, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical (tube) \"break up\" by decreasing your level (control) and increasing the (course) gain. The Output Attenuation Control (-0 to -10 dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings. Mercury have also added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on\/off) , phase (polarity) reversal, and the amazing sounding FDI (FET direct input) circuit.\u003c\/p\u003e  \u003cp\u003eThe Mercury FDI is a proprietary JFET circuit based on a Class A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury's custom, massive input transformers, so that the individual character of each preamp comes through.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449245233255,"sku":"6165","price":4298.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_m76m1_1.jpg?v=1787088292"},{"product_id":"mercury-eq-p1-equalizer","title":"Mercury EQ-P1 Mono Tube Equalizer","description":"\u003cp\u003eThe \u003cstrong\u003eMercury EQ-P1\u003c\/strong\u003e is based on the vintage 'Pultec EQP1a' circuit, which uses a passive EQ circuit with a fully balanced (push-pull) gain make up amplifier. This new Mercury production utilizes only the highest quality passive components, while remaining true to the original, and like all Mercury products, has transformer balanced input and outputs. Besides a much more powerful and stable power supply and running DC on the heaters, rather than AC, the only other modernization is one of Mercury EQP2's most popular features: the Mercury I.S.T. Switch.\u003c\/p\u003e  \u003cp\u003eThe Mercury I.S.T. Switch offers the choice to switch the Interstage Transformer in or out of the circuit. Giving engineers a choice with a flick of a switch between the standard Mercury warm, musical, \"vintage\" tone with the I.S.T. Switch not engaged (out) or a much more open and airy version of the same full, warm tone with the switch engaged (in). In the original Pultec EQP the Interstage transformer was always in the signal path. With the I.S.T. Switch engaged and the interstage transformer not in the circuit, there is slight widening of the sound and slightly more open top end. Many of today's engineers value this feature on the Mercury EQ-P1 and now the Mercury EQ-P2 Studio Program Equalizers to have choice between two great, but different sounds without changing their frequencies or setting and hearing the change instantly. Note: With the I.S.T. Switch engaged or not, the input and output transformers are always in the circuit.\u003c\/p\u003e  \u003cp\u003eThe Mercury I.S.T. Switch makes it possible to change the characteristics of the tube by a simple flip of a switch. This flexible, modern feature can only be found in the Mercury EQ-P1 circuit. This provides engineers with the choice to use the 1:1 transformer in the middle of the circuit, or not.\u003c\/p\u003e  \u003cp\u003eThe Mercury EQ series are based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier ('Pultec style') equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449252245607,"sku":"1531","price":3499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-p1_1_22637385-77f9-44de-8e6b-8ea63129f489.jpg?v=1787088319"},{"product_id":"mercury-eq-h1-equalizer","title":"Mercury EQ-H1 Mono Tube Equalizer","description":"\u003cp\u003eThe \u003cstrong\u003eMercury EQ-H1\u003c\/strong\u003e features a passive EQ circuit with a single ended gain make up amplifier topology, based on the vintage 'Pultec EQH' circuit. The Mercury EQ-H1 circuit provides a musically satisfying result unobtainable with active and parametric EQs, since it does not rely upon negative feedback (and all its associated phase and dynamic distortions) to achieve equalization. The EQ-H1, like all Mercury products, has transformer balanced (XLR) input and outputs. The only modern additions or changes to the original are a much more powerful and stable power supply and running DC on the heaters, rather than AC, and two additional frequencies to expand the range and make it more flexible.\u003c\/p\u003e  \u003cp\u003eThe Mercury EQ series all based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier ('Pultec style') equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449252278375,"sku":"1532","price":3148.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-h1_1_9c6713b8-e3a2-4067-98e2-ec04b5d15cdc.jpg?v=1787088320"},{"product_id":"mercury-eq-h2","title":"Mercury EQ-H2","description":"The \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-H2\u003c\/span\u003e is twoindependent (dual mono) channels of the Mercury EQ-H1 in a 2U package.The Mercury EQH2, like the EQ-H1, features a passive EQ circuit with asingle ended gain make up amplifier topology, based on the vintage‘Pultec EQH’ circuit. The Mercury EQ-H2 circuit provides a musicallysatisfying result unobtainable with active and parametric EQs, since theEQ-H2 does not rely upon negative feed back (and all it's associatedphase and dynamic distortions) to achieve equalization. The EQH2, likeall Mercury products, has transformer balanced (XLR) input and outputs.The only additions or changes to the original are a much more powerfuland stable power supply and running DC on the heaters, rather than AC,and two additional frequency to expand the range and make it moreflexible.\u003cbr\u003e \u003cbr\u003e The EQ-H2, like the mono version EQ-H1, is more punchy and robust andhas a slight push in the low end and lower midrange. The EQ-P2, like themono version EQ-P1, is more open and silky, and equally adds warm tohighs, mids and lows of your source. Although both sound amazing on anyapplication and are both multi-purpose tools (equalizers) in the studio,if you had both you could then choose between applications. The MercuryEQ-H2 is warm and fluid but a bit \"thicker\" than the EQ-P2, thus shineson thickening (and pushing forward in the mix) your Vocals, Bass, Kick,Snare, and Acoustic Guitar etc... The Mercury EQ-P2 is great forShaping and adding ‘air’ to your vocals, Acoustic instruments, Guitar,Piano etc... and is magical strapped across your two buss to addmusicality to you mix.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFrequencies\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS; Cycles per second): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB\u003c\/li\u003e\n\u003cli\u003eLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS; kilocycles per second ): 3, 4, 5, 8, 10, 12, 16 kHz\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +16dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16db\u003c\/li\u003e\n\u003c\/ul\u003e\u003cspan style=\"font-weight: bold;\"\u003eAdditional information\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eTubes: 1x 12AX7 and 7 1x 12AU7, per channel\u003c\/li\u003e\n\u003cli\u003eRack Size: 2U\u003cbr\u003e \u003c\/li\u003e\n\u003c\/ul\u003eThe Mercury EQ-H1, EQ-P1, EQ-H2 and EQ-P2 are based on the originalPultec equalizers which were tools developed to deal with thelimitations of recorded music. Limitations that most often manifestthemselves in the highest and lowest frequencies of the programmaterial. The Mercury Studio Program Equalizers, like the family oforiginal Pultec EQs, are originally designed to bring back the life andmusicality lost in a recording. Whether by accident or genius, nothinghas been able to do this better in music production than a passiveequalizer with tube gain make up amplifier (‘Pultec style’) equalizer.The interaction of the passive boosting and attenuating shelving EQs(not relying on negative feed back), as well as the transformers, tubesand other amplification circuitry all add to the incredibly musicalcharacter of the product. Working engineers try other types ofequalizers, but always end up coming back to the Pultec style as theequalizer of choice for those final touches while tracking or mixing andeven mastering at times.\u003cbr\u003e \u003cbr\u003e Now in this modern age of digital recording, where the source you putinto the DAW is exactly what you have on the track, with no roundededges, no slight compression and none of the “pixie dust” that came withanalog tape, the Mercury family of equalizers are needed more than everto help add the musicality, warmth and tone to your tracks that we haveall treasured.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eEQ-H2 vs EQ-P2\u003c\/span\u003e\u003cbr\u003e Simply, the key to the tone of these two circuits is it’s amplifier, andMercury EQ-H2 and EQ-P2 have different amplifiers to make up the gainlost by the passive equalizer circuit, thus it has a different tone.Meaning the EQ-H2 and EQ-P2 sound different on the same application, andhave a different reaction to the same instrumentation or voice.\u003cbr\u003e \u003cbr\u003e The EQ-H2, like the mono version EQ-H1, is more punchy and robust andhas a slight push in the low end and lower midrange. The EQ-P2, like themono version EQ-P1, is more open and silky, and equally adds warmth tohighs, mids and lows of your source. Although both sound amazing on anyapplication and are both multi-purpose tools (equalizers) in the studio,if you had both you could then choose between applications.","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449382858855,"sku":"17134","price":4600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-h2.jpg?v=1787088793"},{"product_id":"mercury-eq-p2","title":"Mercury EQ-P2 Dual-Mono Tube Equalizer","description":"\u003cp\u003eThe \u003cstrong\u003eMercury EQ-P2\u003c\/strong\u003e features two independent (dual mono) channels of the popular Mercury EQ-P1 (mono) studio program equalizer in a 3U package. The Mercury EQ-P2 is based on the vintage Pultec EQ-P1a circuit. The Mercury EQ-P2 has a passive EQ circuit with a fully balanced (push-pull) gain make up amplifier. This Mercury production utilizes only the highest quality passive components, while remaining true to the original and like all Mercury products has transformer balanced input and outputs. Besides a much more powerful and stable power supply and running DC on the heaters, rather than AC, the only other modernization is one of Mercury EQ-P2's most popular features, the Mercury IST Switch.\u003c\/p\u003e  \u003cp\u003eThe Mercury I.S.T. Switch offers the choice to switch the Interstage Transformer in or out of the circuit. Giving engineers a choice with a flick of a switch between the standard Mercury warm, musical, \"vintage\" tone with the I.S.T. Switch not engaged (out) or a much more open and airy version of the same full, warm tone with the switch engaged (in). In the original Pultec EQP the Interstage transformer was always in the signal path. With the I.S.T. Switch engaged and the interstage transformer not in the circuit, there is slight widening of the sound and slightly more open top end. Many of today's engineers value this feature on the Mercury EQ-P1 and now the Mercury EQ-P2 Studio Program Equalizers to have choice between two great, but different sounds without changing their frequencies or setting and hearing the change instantly. Note: With the I.S.T. Switch engaged or not, the input and output transformers are always in the circuit.\u003c\/p\u003e  \u003cp\u003eThe EQ-P2 amplifier uses one 12AX7 tube and one 12AU7 tube per channel.\u003c\/p\u003e  \u003cp\u003eThe Mercury EQ series are based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier ('Pultec style') equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449382891623,"sku":"17133","price":7698.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-p2.jpg?v=1787088793"},{"product_id":"mercury-m72s-csv","title":"Mercury M72s Dual-Channel Tube Microphone Preamp - Custom Shop Version","description":"\u003cp\u003eThe \u003cstrong\u003eMercury M72s-CSV\u003c\/strong\u003e is based on the most sought after vintage amplifier module — the Telefunken\/Siemens V72s — which is most famous for being installed in REDD.37 consoles, used on all the early Beatles recordings by George Martin at Abbey Road Studios in London, England.\u003c\/p\u003e  \u003cp\u003eInspired by the vintage tone, craftsmanship and practicality of the original, modular, tube amplifier from the console, Mercury wanted to pay homage in every detail. From the color of paint, to the style of venting used, to the nickel plated handles that were used to remove it from the slotted DIN rack on the console side. Bringing back the sound, look and feel that inspired not only this product but this company, Mercury, to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation.\u003c\/p\u003e  \u003cp\u003eThe Mercury M72s-CSV is based on the module used in consoles which are very rare due to a minimal amount made. The more common V72 amplifier modules (not marked with the lower case \"s\", ie V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTHE M72S CUSTOM SHOP IN DETAIL\u003c\/h3\u003e  \u003cp\u003eThe gain of the M72s\/1 is variable from 28 dB to 58 dB, in 3 dB increments, controlled with a high-quality rotary switch. Also, there is an option of a selectable input pad of -16 dB or -28 dB for even more control. Additionally, when the -28 dB pad is engaged and it is set at the lowest gain setting (28 dB) you can run signal through the M72s\/1 to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples, etc. There are also all the modern features including Phantom Power (on\/off), phase (polarity) reversal, and an amazing sounding FDI (FET direct input) circuit per channel.\u003c\/p\u003e  \u003cp\u003eThe FDI is a proprietary JFET circuit, based on a Class A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury's custom, massive input transformers, so that the individual character of each preamp comes through.\u003c\/p\u003e  \u003cp\u003eThe Mercury M72s\/1 has the rich lows and punchy mids giving you that 'instant' vocal tone, or assisting with a realistic acoustic guitar tone, punch to bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The M72s\/1 has that \"vintage\" tone and break up like the original circuit but it is a bit more musical over all (not cleaner, but more musical—there is a huge difference).\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449382924391,"sku":"17202","price":5998.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_m72s_csv_1.jpg?v=1787088794"},{"product_id":"mercury-m76m-csv","title":"Mercury M76m - CSV","description":"The \u003cspan style=\"font-weight: bold;\"\u003eMercury M76m-CSV \u003c\/span\u003e(CustomShop Version) is Mercury's benchmark, valve Studio Microphone Amplifier.The M76m is based on one of the most sought after vintage amplifiermodules, the ‘Telefunken\/Siemens’ V76m. These modules were used inEuropean broadcast and recording studios in the late 1950’s and 60’s.Later, after tube consoles where out of favor and replaced by discrete,transistor consoles, the V76 modules still lived on and were racked asoutboard mic amps and used in the studios around the world.\u003cbr\u003e \u003cbr\u003e Inspired by the vintage tone, craftsmanship and practicality of theoriginal, modular, tube amplifier from the console. We wanted to payhomage in every detail. From the color of paint, to the style of ventingused, to the nickel platted handles that were used to remove it fromthe slotted DIN rack on the console side. Bringing back the sound, lookand feel that inspired not only this product but Mercury as a company,to manufacture recording equipment and keep this and other belovedcircuits alive to make more music for another generation.\u003cbr\u003e \u003cbr\u003e Drawing on nearly 20 years experience, repairing, rebuilding, and mostimportantly listening to the ‘Telefunken\/Siemens’ V76 modules it was ourfirst priority to build a modern Studio Microphone Amplifier thatsounds identical to the original. Mercury Recording Equipment Co. keptthe integrity of the original circuit, the M76m has the same open, warmtonality created with the transformer balanced, dual stage, high gainamplifier, and uses four transformers and four tube per channel. We areconfident we have built what is quite possibly the ultimate combinationof vintage sound and modern features in a modern tube microphoneamplifier. We feel we have captured not only of how the units behave,but of how they sound overall. With the addition normal modern features,such as: Phantom, Phase, as well as many new features such as: LevelControl and High\/Low Impedance switch never available on any module, oreven custom racked units, the Mercury M76m is the benchmark of moderntube microphone amplifiers.\u003cbr\u003e \u003cbr\u003e \"With it's stellar sound, faithfulness to the original V76, unique tonalflexibility, and helpful array of modern conveniences, the M76m couldvery well be the ultimate 'vintage-style' mic preamp available today.\" \u003cspan style=\"font-weight: bold;\"\u003e- Pete Weiss, TapeOp Magazine\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e Features and Controls The Mercury M76m Gain Control of 0 to +60dB in 6dBincrements, works in conjunction with the Level Control and OutputAttenuation. The Level Control, which will work as a ‘fader’, increasing(clockwise) and decreasing (counter clockwise) the amount of gain fromthe first stage to the second stage of the amplifier. This also allowsyou the ability to add musical (tube) “break up” by decreasing yourlevel (control) and increasing the (course) gain. The Output AttenuationControl (-0 to -10dB) has been added for even more control, includingthe ability shape tones in several different ways, if desired, whichworks well on electric guitar recordings. We have also added anImpedance Select Switch for both high and low impedance devices, as wellas all the staple features one expects from a modern piece of equipmentwere added. Phantom Power (on\/off) , Phase (Polarity) Reversal, and ouramazing sounding F.D.I. (FET Direct Input) Circuit.\u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, basedon a class-A tube topology. The Mercury FDI is designed to reproduceevery nuance of a direct recording, while the circuit lets the tube orsolid-state character of the amplifier determine the overall tone. Theinstrument DI signal is sent through the entire microphone preampcircuitry, including Mercury’s custom, massive input transformers, sothat the individual character of each preamp comes through.\u003cbr\u003e \u003cbr style=\"font-weight: bold;\"\u003e \u003cspan style=\"font-weight: bold;\"\u003eAbout Mercury Custom Shop\u003c\/span\u003e\u003cbr\u003e Mercury Recording Equipment Co. was started with inspiration of warmtones, quality craftsmanship and the classic aesthetics from the vintagerecording equipment used and appreciated for the past 60 years torecord music. Mercury tenaciously created our line as close to originalsound, build quality and aesthetic as we could with a new build. Weadded some features more for aesthetic purposes then functionality whichhave been very appreciated by vintage gear aficionados. But, thoseaesthetic ‘extras’ add additional costs to each product.\u003cbr\u003e \u003cbr\u003e So to help keep costs down, and make our world class products moreaffordable we will offer two versions of some products. Neither willcompromise the standard of quality Mercury is known for, or the sound.Because the circuit and parts internally are both exactly the same inevery way. Mercury and our dealer network will offer the new M72s (Mk.III) as our standard model and the M72s-CSV (Custom Shop Version) withaesthetic extras to look and feel like the vintage models. As well as,the new M76m (Mk. III) minus the backlit gain dial and nickel plated“handles” too pay homage to the vintage modules of yesteryear. But, ifyou are looking for the vintage vibe, all those features are stillproudly offered on the M76m-CSV (Custom Shop Version).\u003cbr\u003e \u003cbr\u003e \"This is my way of compromising without compromising... offering bothversions of some products. Trying to keep alive the original vision Ihad for Mercury providing premium quality recording products, with thevintage look, tone and musicality only found in the past, and doing thisas affordable as we can...\" \u003cspan style=\"font-weight: bold;\"\u003e- David Marquette\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eSpecifications\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eMic Input Impedance: Approx. 2k\u003c\/li\u003e\n\u003cli\u003eSuggested Source Impedance: Approx. 200 ohms\u003c\/li\u003e\n\u003cli\u003eDI Input Impedance: 2M ohms\u003c\/li\u003e\n\u003cli\u003eInternal Output impedance: 30-50 ohms (depends on gain setting)\u003c\/li\u003e\n\u003cli\u003eSuggested Minimum Load: 500 ohms\u003c\/li\u003e\n\u003cli\u003eFrequency response: 20 Hz to 20 kHz +\/- 0.5dB\u003c\/li\u003e\n\u003cli\u003eHarmonic Distortion: All musically related low orders of harmonics, with no\u003c\/li\u003e\n\u003cli\u003esignificant order above 5th.\u003c\/li\u003e\n\u003cli\u003eTubes: 3x EF806s, 1x E83F, per channel\u003c\/li\u003e\n\u003cli\u003eRack Size: 3U\u003c\/li\u003e\n\u003c\/ul\u003e \u003cspan style=\"font-weight: bold;\"\u003eFAQ: Mercury M72s vs. M76m, Whats the difference?\u003c\/span\u003e\u003cbr\u003e Both are multipurpose tools for making music. But they do sound very different. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eTone\u003c\/span\u003e\u003cbr\u003e The Mercury M72s is warm and punchy. The M72s has a thick bottom end, agreat push in the mid range and a open airy top end. The M72sperformance is great on Vocals, Bass, Drums, Acoustic and ElectricGuitars as well as room and Over head applications. The M76m is warm,yet open and airy. Compared to the M72s the M76m is overall more evenly\"EQ'd\". Meaning there is not a push in the low or mids. The M76m shineson Vocals, Bass, Piano and Guitars giving you an amazing of control toshape the amplifier's tone. As well the M76m opens up your room and overhead mics. With 70dB (+\/-) of total gain and the choice High and LowInput Impedance, so ribbon mics love the the M76m.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eGain\u003c\/span\u003e\u003cbr\u003e The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m hasnearly 70dB, with the 60dB input gain, and Level Control and the Lowimpedance selected (+6dB).","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449383022695,"sku":"17201","price":7448.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_m76m_csv_1.jpg?v=1787088794"},{"product_id":"mercury-msc-72-studio-channel-72","title":"Mercury MSC-72 Studio Channel 72","description":"\u003cp\u003eThe \u003cstrong\u003eM72s\u003c\/strong\u003e is based on the most sought after vintage \"V series\" module, the ‘Telefunken\/Siemens V72s,’ which is famous for being used in REDD.37 consoles used on the early Beatle recordings by George Martin at Abbey Road Studios in London, England.\u003cbr\u003e \u003cbr\u003e Unlike those vintage modules that had a fixed 34dB gain, the gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments. In addition, it offers a selectable Input Pad of -16dB or -28dB for even more control. When the -28dB pad is engaged and is set at the lowest gain setting (28dB) you can run line level signal through the M72s to add warmth and tonality to any track, mix, keyboard, drum machine, sample etc.  Also included are Phantom Power (on\/off), Phase (Polarity) Reversal, and F.D.I. (FET Direct Input) Circuit.\u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input) is a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.\u003cbr\u003e \u003cbr\u003e The Mercury M72s has rich lows and punchy mids, giving you instant vocal tone, assisting with realistic acoustic guitar tone, and adding punch to bass guitar. The Mercury M72s Studio Microphone Amplifier has that \"vintage\" tone and \"break up\" like the original circuit but it is a bit more musical over all. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTubes\u003c\/strong\u003e\u003cbr\u003e The Mercury M72s amplifier uses 2x EF806s, per channel.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe MSC-72 Equalizer\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-H1 features a passive EQ circuit with a single ended gain makeup amplifier topology, based on the vintage ‘Pultec EQH’ circuit. The Mercury EQH2 circuit provides a musically satisfying result unobtainable with active and parametric EQs, since the EQH2 does not rely upon negative feedback (and all its associated phase and dynamic distortions) to achieve equalization. The EQH2, like all Mercury products, has transformer balanced (XLR) input and outputs. The only additions or changes to the original are a much more powerful and stable power supply and running DC on the heaters, rather than AC.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eEQH2 vs EQP2\u003c\/strong\u003e\u003cbr\u003e Simply, the key to the tone of these two circuits is it’s amplifier, and Mercury EQ-H2 and EQ-P2 have different amplifiers to make up the gain lost by the passive equalizer circuit, thus it has a different tone, meaning the EQH2 and EQP2 sound different on the same application, and have a different reaction to the same instrumentation or voice.\u003cbr\u003e \u003cbr\u003e The EQH2, like the mono version EQ-H1, is more punchy and robust and has a slight push in the low end and lower midrange. The EQP2, like the mono version EQ-P1, is more open and silky, and equally adds warm to highs, mids and lows of your source. Although both sound amazing on any application and are both multi-purpose tools (equalizers) in the studio, if you had both you could then choose between applications. The Mercury EQH2 is warm and fluid but a bit \"thicker\" than the EQP2, thus shines on thickening (and pushing forward in the mix) your Vocals, Bass, Kick, Snare, and Acoustic Guitar etc. The Mercury EQP2 is great for Shaping and adding ‘air’ to your vocals, Acoustic instruments, Guitar, Piano etc... and is magical strapped across your two buss to add musicality to you mix. The Mercury EQ-H1 and EQ-P1 are based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music, limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The family of Pultec EQs were originally designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTubes\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-H1 amplifier uses a 1x 12AX7 and 1x 12BH7, per channel.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFrequencies:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS; Cycles per second): 20, 30, 60, 100, 200 Hz\u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB\u003c\/li\u003e\n\u003cli\u003eLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS; kilocycles per second ): 3, 4, 5, 8, 10, 12, 16 kHz\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +16dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16dB\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449383055463,"sku":"17150","price":4400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_msc-72_1.jpg?v=1787088794"},{"product_id":"mercury-msc-76-studio-channel-76","title":"Mercury MSC-76 Studio Channel 76","description":"\u003cp\u003eNew from the Mercury Custom Shop is Mercury’s twist on the professional studio channel, the \u003cstrong\u003eMercury Studio Channel 76\u003c\/strong\u003e. The MSC-76 is two independent channels of a Mercury M76m Studio Microphone Amplifier and a Mercury EQ-P1 Program Equalizer. Each amplifier, the mic amplifier and EQ’s gain make up amplifier are fully transformer balanced, with the option to use them together or in dependently with separate XLR inputs and outputs on the rear of chassis. The MSC-76 is simply two great Mercury products in one 3u chassis.\u003cbr\u003e \u003cbr\u003e Looking at other choices of \"combo boxes,\" especially ones with compressors along with pre-amps and EQs, choosing to cut corners to either be able to save costs, which usually mean fewer transformers, and or to save space to be able to fit all the components in the products chassis, we wanted to do something much different. Unlike many \"channel strips\" or \"combo boxes\" in the marketplace no corners were cut in the Mercury Studio Channel 76.\u003cbr\u003e \u003cbr\u003e With the philosophy that each part of your signal chain is important but, after your choice of microphone for a specific source, the foundation starts with your microphone amplifier. The Mercury Studio Channels were designed to be an obvious choice to follow any microphone in your signal chain by matching up the tube, Mercury Studio Microphone Amplifiers with the tube, Studio Program Equalizers. We did not consider a compressor or limiter to be part of the product from the very beginning, thinking just like a microphone, the compressor is going to vary much more often depending on application or source you a rerecording concentrated on the heart of the signal chain. This would allow you to use it with any microphone you have in your mic locker and any compressor in your rack, making a Mercury Studio Channel an obvious choice for engineers and producers who are looking for tone, warmth and musicality.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe MSC-76 Mic Amplifier\u003c\/strong\u003e\u003cbr\u003e The Mercury M76m Studio Microphone Amplifier is a recreation of the original German designed Telefunken\/Siemens amplifier module used in many European broadcast and recording desks in the 1960s. However, theV76 modules are known as an outboard rack mounted mic pre-amp and are highly sought after by studios and engineers all over the world.\u003cbr\u003e \u003cbr\u003e Drawing on years of experience, repairing, rebuilding, and most importantly listening to the Telefunken\/Siemens V76 modules it was the first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. Mercury has built what is quite possibly the ultimate combination of vintage sound and modern features to be the benchmark in a modern tube microphone amplifier.\u003cbr\u003e \u003cbr\u003e \"With its stellar sound, faithfulness to the original V76, unique tonal flexibility, and helpful array of modern conveniences, the M76m could very well be the ultimate 'vintage-style' mic preamp available today.\" \u003cstrong\u003e- Pete Weiss, TapeOp Magazine\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTubes\u003c\/strong\u003e\u003cbr\u003e The Mercury M76m amplifier uses 3x EF806s and 1x E83F, per channel\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFeatures and Controls\u003c\/strong\u003e\u003cbr\u003e The Mercury M76m has Gain Control of 0 to +60dB in 6dB increments, that works in conjunction with the Level control and Output Attenuation. The Level Control, which will work as a fader, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical \"fuzz\" by turning down your level (control) and adding more (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired. Unlike the original, Mercury added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on\/off) , Phase (Polarity)Reversal, and our amazing sounding F.D.I. (FET Direct Input) Circuit.\u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe MSC-76 Equalizer\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-P1 is based on the vintage ‘Pultec EQP1a’ circuit, which uses a passive EQ circuit with a fully balanced (push-pull) gain make up amplifier. This new Mercury production utilizes only the highest quality passive components, while remaining true to the original and like all Mercury products has transformer balanced input and outputs. Besides a much more powerful and stable power supply and running DC on the heaters, rather than AC, only other modernization is one of MercuryEQP2’s most popular features, the Mercury I.S.T. Switch.\u003cbr\u003e \u003cbr\u003e The Mercury I.S.T. Switch offers the choice to switch the Interstage Transformer in or out of the circuit. Giving engineers a choice with a flick of a switch between the standard Mercury warm, musical, \"vintage \"tone with the I.S.T. Switch not engaged (out) or a much more open and airy version of the same full, warm tone with the switch engaged (in).In the original Pultec EQP the Interstage transformer was always in the signal path. With the I.S.T. Switch engaged and the interstage transformer not in the circuit, there is slight widening of the sound and slightly more open top end. Many of today's engineers value this feature on the Mercury EQ-P1 and now the Mercury EQP2 Studio Program Equalizers to have choice between two great, but different sounds without changing their frequencies or setting and hearing the change instantly. Note: With the I.S.T. Switch engaged or not, the input and output transformers are always in the circuit.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTubes\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-P1 amplifier uses a 1x 12AX7 and 1x 12AU7, per channel.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFrequencies:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz\u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB\u003c\/li\u003e\n\u003cli\u003eLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe Mercury EQ-H1 and EQ-P1 are based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music; limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The family of Pultec EQs were originally designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449383088231,"sku":"17151","price":5250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_msc-76_1.jpg?v=1787088794"},{"product_id":"mercury-eq-h1-equalizer-pair","title":"Mercury EQ-H1 Equalizer Pair","description":"\u003cp\u003eThe\u003cstrong\u003e \u003c\/strong\u003e\u003cstrong\u003eMercury EQ-H1 Program Equalizer\u003c\/strong\u003e has transformer balanced input and output, with a single ended gain make up amplifier. The EQ-H1’s passive EQ\/gain make up amp topology provides a musically satisfying result unobtainable with active and parametric EQ’s, since it does not rely upon negative feedback (and all it’s associated phase and dynamic distortions) to achieve equalization. The new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e \u003cbr\u003e The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. The EQ-H1 and EQ-P1 sound different on the same application. The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. \u003cbr\u003e \u003cbr\u003e The Mercury EQ-P1 also has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. The only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today’s engineers might want to remove it with the Mercury EQP1 Program Equalizer it is possible to do so with in\/out switch on the Front Panel. This takes the middle (interstage) transformer out of the circuit Up, in the \"in\" position, it is more \"vintage\" like the original Pultec. Down, in the \"out\" position, it is a little more \"open\" and \"airy.\" Either way, the input and output transformers are always in the circuit. The new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449408778343,"sku":"9013","price":3795.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-h1_pair_f0731889-0147-43c5-b6ec-bbd28ac6d864.jpg?v=1787088888"},{"product_id":"mercury-eq-p1-equalizer-pair","title":"Mercury EQ-P1 Equalizer Pair","description":null,"brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449408876647,"sku":"9014","price":4395.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-p1_pair_55163c64-8338-46aa-94db-b4c7f1c8c259.jpg?v=1787088888"},{"product_id":"mercury-grand-preq15s","title":"Mercury Grand PreQ15s Mono Microphone Preamp\/EQ","description":"\u003cp\u003eThe \u003cstrong\u003eMercury Grand PreQ15s\u003c\/strong\u003e is a mono, fully discrete studio preamp with 3-band equalizer and high\/low pass filters and is fully balanced with transformer coupled input and output. The GPQ15s has many additions to the classic circuit as well as all the modern features you will require packed into a solidly built 1U chassis. The GPQ15s boasts premium components, custom transformers, and is proudly built in the USA.\u003c\/p\u003e  \u003cp\u003eThe GPQ15s comes with an external, premium quality power supply - the Mercury DC-1. The DC-1 uses a large toroidal transformer and has dual regulation for clean, quiet power. It includes a 5-pin XLR cable to run from Mercury DC-1 to the Mercury GPQ15s.\u003c\/p\u003e  \u003cp\u003e\u003cem\u003e\"After many years custom racking 'Vintage BBC Spec' Console Input Modules and having the luxury of being able to hear just about every one of the Discrete, British Pre\/EQ modules ever made... I have always had a favorite. I am a fan of many of them, but one has always seemed to shine above the rest, for me, due to its silky smooth tone and overall musicality, the Vintage Calrec PQ15s. I am thrilled to be able to share this old favorite, in a new way and with some additional  features in our Mercury Grand PreQ15s.\"\u003c\/em\u003e \u003c\/p\u003e  \u003cul\u003e \u003cli\u003eDavid Marquette, Mercury Recording Equipment Co.\u003c\/li\u003e \u003c\/ul\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449438302311,"sku":"21537","price":3998.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_gpq15s_0a72f0eb-ddaf-40b7-b1bb-49e0eafebffa.jpg?v=1787088958"},{"product_id":"mercury-66-limiting-amplifier-used","title":"Mercury 66 Limiting Amplifier (Used)","description":"The Mercury 66 Studio Limiting Amplifieris an ‘All Tube - All Transformer’, fully balanced, variable-bias limiter. Based on the most sought after product in this genre, the legendary Fairchild 660. This limiting amplifier is recognized as an essential tool for making great recordings. Many manufacturers have tried to copy the Fairchild circuit but have failed to capture the true sonic essence, and presented a similar look and functionality but failed to capture the overall tone of the original. Until now.\n\nMercury Recording Equipment has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a modern build. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? So, the Mercury 66, like all Mercury products, has no I.C.’s (chips), and is proudly hand built and or assembled in the USA. Using no-compromise parts \/ components and has transformer balanced input and outputs. As well, with the Vintage style VU Meter, large bakelite knobs, powder coated chassis and front panel the Mercury 66 has a very distinctive 1950’s aesthetic so that they look as good as they sound!\n\nSome might ask, Why recreate one of the most complicated pieces of recording equipment ever made? The Mercury 66 has a massive, custom power supply transformer, a choke, 3 audio transformers, a control amp transformer and 8 tubes squeezed into a 3U chassis. All together the M66 weighs in at 38 pounds for a mono amplifier! The answer is: Mercury 66 Studio Limiting Amplifier is based the classic Fairchild 660 limiting amplifier because we were inspired buy the unique sound that only this can circuit deliver to your audio signal path. There is truly nothing else like it. Proudly, using parts that are available today, we have met all the original specifications, but most importantly, the Mercury 66 sounds like a Fairchild 660.\n\nIts performance features include: exceptional tone and musical focus; absence of audible thumps, distortion or noise; extremely fast attack time that can produce full limiting in 1\/5000th of a second; variable release time from .3 seconds to 25 seconds; useful as a limiter or a compressor depending on the program material and control settings; reliability and stability (All components operate well below their rated maximums); all tube, fully balanced (push-pull) transformer coupled circuitry; and simple, easy to use controls.\n\nThe Mercury 66 Studio Limiting Amplifier uses a single push-pull stage of amplification which is transformer coupled input and output (XLRs) with no capacitors in the signal path) with a high control voltage. The result: the unit never produces any audible thumps, and has low distortion and noise under all conditions (either as a limiter or straight through amplifier). The Control amplifier is also fully balanced, transformer coupled in\/out. The unit makes use of a very stable high current vacuum tube voltage regulator. It has ample and accessible input, threshold, attack, release time and metering controls allowing for convenience in the control room when making adjustments. The attack time is very fast and catches short transients. The release time of .3 to 25 seconds provides real flexibility: Three positions of the six available make the release time a function of program material, with fast recovery for short duration peaks and overall reduction of program level should the program level remain high. It can be used as a limiter or compressor. For example, use it as a 2 to 1 ratio compressor with a threshold 5 dB below average level, or as a peak limiter with a 20 to 1 ratio with threshold 10 dB above normal program level, or anywhere between these extremes.\n\nOne notable change on the Mercury 66 is the addition of the DC Adjust Control. On an original Fairchild 660 this was called DC Threshold and was on the rear of the unit (not accessible from front panel). We put that control on the front panel and labeled it DC Adjust to not confuse the Threshold function. The DC Adjust lets you control DC (Direct Current) in part of the circuit to give the user more control of the functionality and level of compression. This gives you the control how the amplifier reacts to the audio signal and basically how hard the compression tube ‘works’, allowing you to ‘smash’ the signal or just add a ‘soft touch’ of compression along with the velvet tone and overwhelming musicality of the amplifier. This is possible by turning the DC Adjust to the far left (counter clockwise) on the M66 you are adding more DC and adding more compression [or saturation] and if you turn to the far right (clockwise) you are decreasing the amount of DC and the amount compression [or saturation, for a lack of a better term and to make things easier to understand]. The best thing about this feature is you can find that ‘sweet spot’, for that perfect amount of compression. We like to think of this as the 'magic knob' as do most of our users and this sets the Mercury 66 apart from the original and other compressors and limiting amplifiers available today.\n\nFront Panel Controls\nInput Gain, AC Threshold, Attack\/Release, DC Adjust, Meter Zero (Trim), Stereo Link and Power on\/off Switch. M66 Attack and Release Times:\n\n    Position 1 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.3 ]\n    Position 2 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.8 ]\n    Position 3 - Attack [ Med. - 0.4 ] Release, in Seconds [ 2.0 ]\n    Position 4 - Attack [ Slow - 0.8 ] Release, in Seconds [ 5.0 ]\n    Position 5 - Attack [ Med. - 0.4 ] Release, in Seconds [ Auto: 2.0 peaks, 10.0 program ]\n\n\nSpecifications\n\n    Transformers: 600 ohm Input and Output\n    Gain: 7 db (no limiting)\n    Frequency response: 40 Hz- 15 kHz +\/- 1 db\n    Noise: = -74 dB below OdBm\n    THD: = \u0026lt; 1%\n    Compression Ratio: 1:1 to 1:20\n    Attack Time: 1] 0.2, 2] 0.2, 3] 0.4, 4] 0.8 5] 0.4 6] 0.2 ms\n    Release Time: 1] 0.3, 2] 0.8, 3] 2 sec, 4] 5 sec, 5] auto 1, 6] auto 2\n    Tubes: (1) 6BC8, (2) 6V6, 12BH7, 12AX7, EL34, 5AR4 or GZ34, 5751\n    Rack Size: 3U","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449451376743,"sku":"7670","price":4995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_66_limiting_amplifier_9287ab49-cc09-4aa4-99e0-dc77e4500f50.jpg?v=1787089006"},{"product_id":"mercury-66-limiting-amplifier-037-used","title":"Mercury 66 Limiting Amplifier #037 (Used)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eMercury 66 Studio Limiting Amplifier\u003c\/span\u003eis an ‘All Tube - All Transformer’, fully balanced, variable-bias \nlimiter. Based on the most sought after product in this genre, the \nlegendary Fairchild 660. This limiting amplifier is recognized essential\n tool for making great recordings. Many manufacturers have tried to copy\n the Fairchild circuit but have failed to capture the true sonic essence\n and presented a similar look and functionality but failed to capture \nthe overall tone of the original. Until now.\u003cbr\u003e\n\n\u003cbr\u003e\n\nMercury Recording Equipment has gone to great lengths to recreate the \npride and passion of the past, both sonically and aesthetically, while \noffering the reliability of a modern build. The choices made in looks, \nlayout, functionality, features and build quality all answer back to one\n question: How would \"they\" have done it today? So, the Mercury 66, like\n all Mercury products, has no I.C.’s (chips), and is proudly hand built \nand or assembled in the USA. Using no-compromise parts \/ components and \nhas transformer balanced input and outputs. As well, with the Vintage \nstyle VU Meter, large bakelite knobs, powder coated chassis and front \npanel the Mercury 66 has a very distinctive 1950’s aesthetic so that \nthey look as good as they sound! \u003cbr\u003e\n\n\u003cbr\u003e\n\nSome might ask, Why recreate one of the most complicated pieces of \nrecording equipment ever made? The Mercury 66 has a massive, custom \npower supply transformer, a choke, 3 audio transformers, a control amp \ntransformer and 8 tubes squeezed into a 3U chassis. All together the M66\n weighs in at 38 pounds for a mono amplifier! The answer is: Mercury 66 \nStudio Limiting Amplifier is based the classic Fairchild 660 limiting \namplifier because we were inspired buy the unique sound that only this \ncan circuit deliver to your audio signal path. There is truly nothing \nelse like it. Proudly, using parts that are available today, we have met\n all the original specifications, but most importantly, the Mercury 66 \nsounds like a Fairchild 660.\u003cbr\u003e\n\n\u003cbr\u003e\n\nIts performance features include: exceptional tone and musical focus; \nabsence of audible thumps, distortion or noise; extremely fast attack \ntime that can produce full limiting in 1\/5000th of a second; variable \nrelease time from .3 seconds to 25 seconds; useful as a limiter or a \ncompressor depending on the program material and control settings; \nreliability and stability (All components operate well below their rated\n maximums); all tube, fully balanced (push-pull) transformer coupled \ncircuitry; and simple, easy to use controls.\u003cbr\u003e\n\n\u003cbr\u003e\n\nThe Mercury 66 Studio Limiting Amplifier uses a single push-pull stage \nof amplification which is transformer coupled input and output (XLRs) \nwith no capacitors in the signal path) with a high control voltage. The \nresult: the unit never produces any audible thumps, and has low \ndistortion and noise under all conditions (either as a limiter or \nstraight through amplifier). The Control amplifier is also fully \nbalanced, transformer coupled in\/out. The unit makes use of a very \nstable high current vacuum tube voltage regulator. It has ample and \naccessible input, threshold, attack, release time and metering controls \nallowing for convenience in the control room when making adjustments. \nThe attack time is very fast and catches short transients. The release \ntime of .3 to 25 seconds provides real flexibility: Three positions of \nthe six available make the release time a function of program material, \nwith fast recovery for short duration peaks and overall reduction of \nprogram level should the program level remain high. It can be used as a \nlimiter or compressor. For example, use it as a 2 to 1 ratio compressor \nwith a threshold 5 dB below average level, or as a peak limiter with a \n20 to 1 ratio with threshold 10 dB above normal program level, or \nanywhere between these extremes.\u003cbr\u003e\n\n\u003cbr\u003e\n\nOne notable change on the Mercury 66 is the addition of the DC Adjust \nControl. On an original Fairchild 660 this was called DC Threshold and \nwas on the rear of the unit (not accessible from front panel). We put \nthat control on the front panel and labeled it DC Adjust to not confuse \nthe Threshold function. The DC Adjust lets you control DC (Direct \nCurrent) in part of the circuit to give the user more control of the \nfunctionality and level of compression. This gives you the control how \nthe amplifier reacts to the audio signal and basically how hard the \ncompression tube ‘works’, allowing you to ‘smash’ the signal or just add\n a ‘soft touch’ of compression along with the velvet tone and \noverwhelming musicality of the amplifier. This is possible by turning \nthe DC Adjust to the far left (counter clockwise) on the M66 you are \nadding more DC and adding more compression [or saturation] and if you \nturn to the far right (clockwise) you are decreasing the amount of DC \nand the amount compression [or saturation, for a lack of a better term \nand to make things easier to understand]. The best thing about this \nfeature is you can find that ‘sweet spot’, for that perfect amount of \ncompression. We like to think of this as the 'magic knob' as do most of \nour users and this sets the Mercury 66 apart from the original and other\n compressors and limiting amplifiers available today.\u003cbr\u003e\n\n\u003cbr\u003e\n\n\u003cspan style=\"font-weight: bold;\"\u003eFront Panel Controls\u003c\/span\u003e\u003cbr\u003e\n\nInput Gain, AC Threshold, Attack\/Release, DC Adjust, Meter Zero (Trim), \nStereo Link and Power on\/off Switch. M66 Attack and Release Times: \u003cbr\u003e\n\n\u003cul\u003e\n\u003cli\u003ePosition 1 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.3 ]\u003c\/li\u003e\n\u003cli\u003ePosition 2 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.8 ]\u003c\/li\u003e\n\u003cli\u003ePosition 3 - Attack [ Med. - 0.4 ] Release, in Seconds [ 2.0 ]\u003c\/li\u003e\n\u003cli\u003ePosition 4 - Attack [ Slow - 0.8 ] Release, in Seconds [ 5.0 ]\u003c\/li\u003e\n\u003cli\u003ePosition 5 - Attack [ Med. - 0.4 ] Release, in Seconds [ Auto: 2.0 peaks, 10.0 program ]\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003cbr\u003e\n\n\u003cspan style=\"font-weight: bold;\"\u003eSpecifications\u003c\/span\u003e\u003cbr\u003e\n\n\u003cul\u003e\n\u003cli\u003eTransformers: 600 ohm Input and Output\u003c\/li\u003e\n\u003cli\u003eGain: 7 db (no limiting)\u003c\/li\u003e\n\u003cli\u003eFrequency response: 40 Hz- 15 kHz +\/- 1 db\u003c\/li\u003e\n\u003cli\u003eNoise: = -74 dB below OdBm\u003c\/li\u003e\n\u003cli\u003eTHD: = \u0026lt; 1%\u003c\/li\u003e\n\u003cli\u003eCompression Ratio: 1:1 to 1:20\u003c\/li\u003e\n\u003cli\u003eAttack Time: 1] 0.2, 2] 0.2, 3] 0.4, 4] 0.8 5] 0.4 6] 0.2 ms\u003c\/li\u003e\n\u003cli\u003eRelease Time: 1] 0.3, 2] 0.8, 3] 2 sec, 4] 5 sec, 5] auto 1, 6] auto 2\u003c\/li\u003e\n\u003cli\u003eTubes: (1) 6BC8, (2) 6V6, 12BH7, 12AX7, EL34, 5AR4 or GZ34, 5751\u003c\/li\u003e\n\u003cli\u003eRack Size: 3U\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003cbr\u003e\n\n\"The Mercury 66 has that thick, glommy quality that you just can't get \nwith any other device. It's killer at taming kick drums, beefing up \nvocals, squashing room mics, giving that magical shimmery sustain to \nacoustic guitars, etc.\" \u003cspan style=\"font-weight: bold;\"\u003e- Pete Weiss, TapeOp Magazine\u003c\/span\u003e\u003cbr\u003e\n\n\u003cbr\u003e\n\n\u003cspan style=\"font-weight: bold;\"\u003eMercury M66 Users include:\u003c\/span\u003e Joe \nChiccarelli, Billy Corgan (Smashing Pumpkins), Rhett Lawrence (Kelly \nClarkson, Christina Aguilera), Devin Powers (Devin Powers Music, Movie \nand TV Scores), Scott Humphrey (Rob Zombie, Motley Crue, Bon Jovi), John\n McBride (Black Bird Studios and Rentals, Martina McBride) and Manny \nMarroquin, who has used his M66 on mixes for many Gold and Platinum \nArtists including: Alicia Keys, Brandy, Janet Jackson, Monica, Nikka \nCosta and many others! ","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449460813927,"sku":"27417","price":4995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_66_limiting_amplifier__037_c3527a10-4f27-4f52-892b-a3aa50a660e0.jpg?v=1787089046"},{"product_id":"mercury-bruder","title":"Mercury Bruder Dual-Channel Microphone Preamp","description":"\u003cp\u003eThe \u003cstrong\u003eMercury Brüder\u003c\/strong\u003e combines one M72s channel and one M76m channel in a single 3U package. Both channels are multipurpose tools for making music. The Mercury M72s is warm and punchy, with a thick bottom end, a great push in the mid range and a open airy top end. The M72s performs great on vocals, bass, drums, acoustic and electric guitars, as well as room and overhead applications. The M76m is warm, open and airy. Compared to the M72s, the M76m is overall more evenly EQed, meaning there is not a push in the low or mids. The M76m shines on vocals, bass and guitars (you have amazing control on the amplifier's tone), and opens up your room and overhead mics. With 72 dB(±) of total gain and a choice of high or low input impedance — ribbon mics are big and open with the M76m.\u003c\/p\u003e  \u003cp\u003eThe M72s has 58 dB of gain and the M76m has about 72 dB of gain (60 dB input gain, +6 dB(±) of level control and +6 dB when low impedance is selected).\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449467465831,"sku":"28074","price":7348.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_bruder_f8f5ec5c-8ed7-4a70-ab67-efcb4d21069c.jpg?v=1787089065"},{"product_id":"mercury-m72s-used","title":"Mercury M72s (Used)","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eMercury M72s\/1 (Mk. III)\u003c\/span\u003e is the mono version of our flagship, Tube Mercury Studio Microphone Amplifier, the M72s. The Mercury M72s is based on the most sought after vintage amplifier module, the Telefunken\/Siemens V72s, which is most famous for being used in REDD.37 consoles, which was used on all the early Beatle recordings by George Martin at Abbey Road Studios in London, England.\u003cbr\u003e \u003cbr\u003e The Mercury M72s is based on the very rare V72s module used in consoles due to a minimal amount made. The more common V72 amplifier modules (not marked with lower case s, ie V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and, in some cases are now in need of much repair.\u003cbr\u003e \u003cbr\u003e Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a \"secret weapon\" for many studio musicians. Mercury Recording Equipment is proud to have a faithful reproduction in the M72s. We have nearly 20 years experience with the amplifiers and feel we have captured the essence not only of how the units behave, but of how they sound overall. We are confident that the addition of modern features makes the M72s much more versatile, without sacrificing the most important feature: Musicality.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eMercury M72s Features\u003c\/span\u003e\u003cbr\u003e The Gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments, controlled with a high quality rotary switch. Also, there is an option of a selectable Input Pad of -16dB or -28dB for even more control. Additionally, when the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run signal through the M72s to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: Phantom Power (on\/off) , Phase (Polarity) Reversal, and our amazing sounding F.D.I. (FET Direct Input) circuit per channel.\u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone pre-amp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each pre-amp comes through.\u003cbr\u003e \u003cbr\u003e The Mercury M72s has the rich lows and punchy mids giving you that ‘instant’ vocal tone, a realistic acoustic guitar tone, or add punch to a bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s Studio Microphone Amplifier has the ‘vintage’ tone and break up like the original circuit but it is a bit more musical over all (not cleaner, more musical, there is a huge difference).\u003cbr\u003e \u003cbr\u003e \"After building 100's of Vintage V72 packages at Marquette Audio Labs it is nice to know we can continue a tradition that we have been providing for over 10 years now. We are very proud of the Mercury M72s Studio Microphone Amplifiers at M.A.L. and I am personally very pleased with this product which has exceeded my expectations\". \u003cspan style=\"font-weight: bold;\"\u003e- David Marquette (Marquette Audio Labs \/ Mercury Recording Equipment Co. ) \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \"The M72 brings the vocal up in your face in a mix. Not only that, when you're singing, you can distinguish every little nuance.\" \u003cspan style=\"font-weight: bold;\"\u003e- Ricky Skaggs\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e “Having used the Mercury M72s I now see no need to scour Eastern Europe to search for the last of the original units.” \u003cspan style=\"font-weight: bold;\"\u003e- Joe Chiccarelli\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \"The M72s sounds every bit as good as an original V72s, imparting that nice pillowy softness that is so difficult to get...\" \u003cspan style=\"font-weight: bold;\"\u003e- Pete Weiss, TapeOp Magazine\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eSpecifications\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMic Input Impedance: Approx. 2k\u003c\/li\u003e\n\u003cli\u003eSuggested Source Impedance: Approx. 200 ohms\u003c\/li\u003e\n\u003cli\u003eInput Impedance with -28dB Pad: Approx. 4k\u003c\/li\u003e\n\u003cli\u003eDI Input Impedance: 2M ohms\u003c\/li\u003e\n\u003cli\u003eInternal Output impedance: 30-50 ohms (depends on gain setting)\u003c\/li\u003e\n\u003cli\u003eSuggested Minimum Load: 500 ohms\u003c\/li\u003e\n\u003cli\u003eMax. Mic Signal Input Level (@ 20 Hz): +34dBu with -28dB Pad engaged \/ +6dBu with\u003c\/li\u003e\n\u003cli\u003ePad not engaged\u003c\/li\u003e\n\u003cli\u003eMax. Output Level: +22dBu\u003c\/li\u003e\n\u003cli\u003eFrequency response: 20 Hz to 20 kHz +\/- 0.5dB\u003c\/li\u003e\n\u003cli\u003eHarmonic Distortion: All musically related low orders of harmonics, with no\u003c\/li\u003e\n\u003cli\u003esignificant order above 5th.\u003c\/li\u003e\n\u003cli\u003eTubes: 2x EF806s, per channel\u003c\/li\u003e\n\u003cli\u003eRack Size: 2U\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eFAQ: Mercury M72s vs. M76m, Whats the difference?\u003c\/span\u003e\u003cbr\u003e Both are multipurpose tools for making music. But they do sound very different.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eTone\u003c\/span\u003e\u003cbr\u003e The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly \"EQ'd\". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+\/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.\u003cbr\u003e \u003cbr style=\"font-weight: bold;\"\u003e \u003cspan style=\"font-weight: bold;\"\u003eGain\u003c\/span\u003e\u003cbr\u003e The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449472348263,"sku":"28723","price":1595.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_m72s_af750ca2-eee1-43bf-b282-aa6bb8d70c11.jpg?v=1787089084"},{"product_id":"mercury-m76m-mkiii-demo-deal","title":"Mercury M76m MKIII (Demo Deal)","description":"\u003cp\u003eThe Mercury M76m MKIII is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years, so working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on nearly 20 years experience repairing, rebuilding, and most importantly listening to the Telefunken\/Siemens V76 modules it was Mercury's first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and High\/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers. \u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSpecifications:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMic Input Impedance: Approx. 2k\u003c\/li\u003e\n\u003cli\u003eSuggested Source Impedance: Approx. 200 ohms\u003c\/li\u003e\n\u003cli\u003eDI Input Impedance: 2M ohms\u003c\/li\u003e\n\u003cli\u003eInternal Output impedance: 30-50 ohms (depends on gain setting)\u003c\/li\u003e\n\u003cli\u003eSuggested Minimum Load: 500 ohms\u003c\/li\u003e\n\u003cli\u003eFrequency response: 20 Hz to 20 kHz +\/- 0.5dB\u003c\/li\u003e\n\u003cli\u003eHarmonic Distortion: All musically related low orders of harmonics, with no\u003c\/li\u003e\n\u003cli\u003esignificant order above 5th.\u003c\/li\u003e\n\u003cli\u003eTubes: 3x EF806s, 1x E83F, per channel\u003c\/li\u003e\n\u003cli\u003eRack Size: 2u\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449472741479,"sku":"14292","price":3995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_m76m_mkiii_1_6d4dadc3-22e0-4ea5-a937-ec84d0fabe30.jpg?v=1787089086"},{"product_id":"mercury-msc-72-studio-channel-72-demo-deal","title":"Mercury MSC-72 Studio Channel 72 (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eM72s\u003c\/strong\u003e is based on the most sought after vintage \"V series\" module, the ‘Telefunken\/Siemens V72s,’ which is famous for being used in REDD.37 consoles used on the early Beatle recordings by George Martin at Abbey Road Studios in London, England.\u003cbr\u003e \u003cbr\u003e Unlike those vintage modules that had a fixed 34dB gain, the gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments. In addition, it offers a selectable Input Pad of -16dB or -28dB for even more control. When the -28dB pad is engaged and is set at the lowest gain setting (28dB) you can run line level signal through the M72s to add warmth and tonality to any track, mix, keyboard, drum machine, sample etc.  Also included are Phantom Power (on\/off), Phase (Polarity) Reversal, and F.D.I. (FET Direct Input) Circuit.\u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input) is a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.\u003cbr\u003e \u003cbr\u003e The Mercury M72s has rich lows and punchy mids, giving you instant vocal tone, assisting with realistic acoustic guitar tone, and adding punch to bass guitar. The Mercury M72s Studio Microphone Amplifier has that \"vintage\" tone and \"break up\" like the original circuit but it is a bit more musical over all. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTubes\u003c\/strong\u003e\u003cbr\u003e The Mercury M72s amplifier uses 2x EF806s, per channel.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe MSC-72 Equalizer\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-H1 features a passive EQ circuit with a single ended gain makeup amplifier topology, based on the vintage ‘Pultec EQH’ circuit. The Mercury EQH2 circuit provides a musically satisfying result unobtainable with active and parametric EQs, since the EQH2 does not rely upon negative feedback (and all its associated phase and dynamic distortions) to achieve equalization. The EQH2, like all Mercury products, has transformer balanced (XLR) input and outputs. The only additions or changes to the original are a much more powerful and stable power supply and running DC on the heaters, rather than AC.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eEQH2 vs EQP2\u003c\/strong\u003e\u003cbr\u003e Simply, the key to the tone of these two circuits is it’s amplifier, and Mercury EQ-H2 and EQ-P2 have different amplifiers to make up the gain lost by the passive equalizer circuit, thus it has a different tone, meaning the EQH2 and EQP2 sound different on the same application, and have a different reaction to the same instrumentation or voice.\u003cbr\u003e \u003cbr\u003e The EQH2, like the mono version EQ-H1, is more punchy and robust and has a slight push in the low end and lower midrange. The EQP2, like the mono version EQ-P1, is more open and silky, and equally adds warm to highs, mids and lows of your source. Although both sound amazing on any application and are both multi-purpose tools (equalizers) in the studio, if you had both you could then choose between applications. The Mercury EQH2 is warm and fluid but a bit \"thicker\" than the EQP2, thus shines on thickening (and pushing forward in the mix) your Vocals, Bass, Kick, Snare, and Acoustic Guitar etc. The Mercury EQP2 is great for Shaping and adding ‘air’ to your vocals, Acoustic instruments, Guitar, Piano etc... and is magical strapped across your two buss to add musicality to you mix. The Mercury EQ-H1 and EQ-P1 are based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music, limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The family of Pultec EQs were originally designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTubes\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-H1 amplifier uses a 1x 12AX7 and 1x 12BH7, per channel.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFrequencies:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS; Cycles per second): 20, 30, 60, 100, 200 Hz\u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB\u003c\/li\u003e\n\u003cli\u003eLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS; kilocycles per second ): 3, 4, 5, 8, 10, 12, 16 kHz\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +16dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16dB\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449480474727,"sku":"29654","price":3395.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_msc-72_1_1_42a28024-ca04-4644-b1c9-5748aa778b0d.jpg?v=1787089119"},{"product_id":"mercury-msc-76-studio-channel-76-demo-deal","title":"Mercury MSC-76 Studio Channel 76 (Demo Deal)","description":"\u003cp\u003eNew from the Mercury Custom Shop is Mercury’s twist on the professional studio channel, the \u003cstrong\u003eMercury Studio Channel 76\u003c\/strong\u003e. The MSC-76 is two independent channels of a Mercury M76m Studio Microphone Amplifier and a Mercury EQ-P1 Program Equalizer. Each amplifier, the mic amplifier and EQ’s gain make up amplifier are fully transformer balanced, with the option to use them together or in dependently with separate XLR inputs and outputs on the rear of chassis. The MSC-76 is simply two great Mercury products in one 3u chassis.\u003cbr\u003e \u003cbr\u003e Looking at other choices of \"combo boxes,\" especially ones with compressors along with pre-amps and EQs, choosing to cut corners to either be able to save costs, which usually mean fewer transformers, and or to save space to be able to fit all the components in the products chassis, we wanted to do something much different. Unlike many \"channel strips\" or \"combo boxes\" in the marketplace no corners were cut in the Mercury Studio Channel 76.\u003cbr\u003e \u003cbr\u003e With the philosophy that each part of your signal chain is important but, after your choice of microphone for a specific source, the foundation starts with your microphone amplifier. The Mercury Studio Channels were designed to be an obvious choice to follow any microphone in your signal chain by matching up the tube, Mercury Studio Microphone Amplifiers with the tube, Studio Program Equalizers. We did not consider a compressor or limiter to be part of the product from the very beginning, thinking just like a microphone, the compressor is going to vary much more often depending on application or source you a rerecording concentrated on the heart of the signal chain. This would allow you to use it with any microphone you have in your mic locker and any compressor in your rack, making a Mercury Studio Channel an obvious choice for engineers and producers who are looking for tone, warmth and musicality.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe MSC-76 Mic Amplifier\u003c\/strong\u003e\u003cbr\u003e The Mercury M76m Studio Microphone Amplifier is a recreation of the original German designed Telefunken\/Siemens amplifier module used in many European broadcast and recording desks in the 1960s. However, theV76 modules are known as an outboard rack mounted mic pre-amp and are highly sought after by studios and engineers all over the world.\u003cbr\u003e \u003cbr\u003e Drawing on years of experience, repairing, rebuilding, and most importantly listening to the Telefunken\/Siemens V76 modules it was the first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. Mercury has built what is quite possibly the ultimate combination of vintage sound and modern features to be the benchmark in a modern tube microphone amplifier.\u003cbr\u003e \u003cbr\u003e \"With its stellar sound, faithfulness to the original V76, unique tonal flexibility, and helpful array of modern conveniences, the M76m could very well be the ultimate 'vintage-style' mic preamp available today.\" \u003cstrong\u003e- Pete Weiss, TapeOp Magazine\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTubes\u003c\/strong\u003e\u003cbr\u003e The Mercury M76m amplifier uses 3x EF806s and 1x E83F, per channel\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFeatures and Controls\u003c\/strong\u003e\u003cbr\u003e The Mercury M76m has Gain Control of 0 to +60dB in 6dB increments, that works in conjunction with the Level control and Output Attenuation. The Level Control, which will work as a fader, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical \"fuzz\" by turning down your level (control) and adding more (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired. Unlike the original, Mercury added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on\/off) , Phase (Polarity)Reversal, and our amazing sounding F.D.I. (FET Direct Input) Circuit.\u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe MSC-76 Equalizer\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-P1 is based on the vintage ‘Pultec EQP1a’ circuit, which uses a passive EQ circuit with a fully balanced (push-pull) gain make up amplifier. This new Mercury production utilizes only the highest quality passive components, while remaining true to the original and like all Mercury products has transformer balanced input and outputs. Besides a much more powerful and stable power supply and running DC on the heaters, rather than AC, only other modernization is one of MercuryEQP2’s most popular features, the Mercury I.S.T. Switch.\u003cbr\u003e \u003cbr\u003e The Mercury I.S.T. Switch offers the choice to switch the Interstage Transformer in or out of the circuit. Giving engineers a choice with a flick of a switch between the standard Mercury warm, musical, \"vintage \"tone with the I.S.T. Switch not engaged (out) or a much more open and airy version of the same full, warm tone with the switch engaged (in).In the original Pultec EQP the Interstage transformer was always in the signal path. With the I.S.T. Switch engaged and the interstage transformer not in the circuit, there is slight widening of the sound and slightly more open top end. Many of today's engineers value this feature on the Mercury EQ-P1 and now the Mercury EQP2 Studio Program Equalizers to have choice between two great, but different sounds without changing their frequencies or setting and hearing the change instantly. Note: With the I.S.T. Switch engaged or not, the input and output transformers are always in the circuit.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTubes\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-P1 amplifier uses a 1x 12AX7 and 1x 12AU7, per channel.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFrequencies:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz\u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB\u003c\/li\u003e\n\u003cli\u003eLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k\u003c\/li\u003e\n\u003cli\u003eHigh Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe Mercury EQ-H1 and EQ-P1 are based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music; limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The family of Pultec EQs were originally designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449480507495,"sku":"29655","price":4195.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_msc-76_1_1_bc439984-b61e-4220-8efa-c272e9104b9e.jpg?v=1787089120"},{"product_id":"mercury-eq-p1-equalizer-0171-used","title":"Mercury EQ-P1 Equalizer #0171 (Used)","description":"Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eMercury Recording Equipment Co.\u003c\/b\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-P1 Program Equalizer\u003c\/span\u003e would add that (more...)","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449549189223,"sku":"33057","price":1895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_eq-p1_eq__0171_cat_5c4ed01f-8f76-4bdd-a8d1-e43914c0e4d2.jpg?v=1787089412"},{"product_id":"mercury-eq-p1-equalizer-0176-used","title":"Mercury EQ-P1 Equalizer #0176 (Used)","description":"\u003cp\u003ePultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eMercury Recording Equipment Co.\u003c\/strong\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-P1 Program Equalizer\u003c\/span\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility, and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cstrong\u003eMercury EQ-P1 Program Equalizer\u003c\/strong\u003e has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eInterstage Transformer In\/Out Switch \u003c\/strong\u003e\u003cbr\u003eThe only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in\/out switch, below the EQ in\/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the \"in\" position, it is more \"vintage\" like the original Pultec. Up, in the \"out\" position, it is a little more \"open\" and \"airy\" on the top. Either way, the input and output transformers are always in the circuit. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFrequencies\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\n\u003cli\u003e Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k \u003c\/li\u003e\n\u003cli\u003e High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003eThe Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449549221991,"sku":"33058","price":1795.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_eq-p1_eq__0176_cat_0a06b0f3-1c7e-4f23-b676-9cb3d0de9000.jpg?v=1787089412"},{"product_id":"mercury-eq-p1-equalizer-315-used","title":"Mercury EQ-P1 Equalizer #315 (Used)","description":"Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eMercury Recording Equipment Co.\u003c\/b\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-P1 Program Equalizer\u003c\/span\u003e would add that (more...)","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449549254759,"sku":"12317","price":1895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_eq-p1_eq_315_cat_21ecafac-3259-41d9-b5e9-a695c73072cf.jpg?v=1787089413"},{"product_id":"mercury-m76m-studio-microphone-amplifier-127-used","title":"Mercury M76m Studio Microphone Amplifier #127 (Used)","description":"\u003cp\u003eThe new \u003cspan style=\"font-weight: bold;\"\u003eMercury M76m (Mk. III)\u003c\/span\u003e is the latest version of Mercury's benchmark, tube Mercury Studio Microphone Amplifier. The M76m is based on one of the most sought after vintage amplifier modules, the ‘Telefunken\/Siemens’ V76m. These modules were used in European broadcast and recording studios in the 1960’s. Later, after tube consoles where out of favor and replaced by smaller (yet with more channels), discrete, transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in the studios around the world. \u003cbr\u003e \u003cbr\u003e Inspired by the vintage tone and craftsmanship of the classic, the Mercury M76m (Mk. III) focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The new M76m (Mk. III) has a new look but same stellar tone and craftsmanship and still proudly built in the USA. We only simplified the look of the front panel by deleting the vintage inspired, aesthetic extras of the M76m MK II, which is still available on the M76m-CSV (custom shop version). Most importantly, the M76m (Mk III) is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers we have used since we started building the first M76m at Mercury Recording Equipment. \u003cbr\u003e \u003cbr\u003e The Mercury M76m is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on nearly 20 years experience repairing, rebuilding, and most importantly listening to the Telefunken\/Siemens V76 modules it was our first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. We are confident we have built what is quite possibly the ultimate combination of vintage sound and modern features in a modern tube microphone amplifier. We feel we have captured not only of how the units behave, but of how they sound overall. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and High\/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFeatures and Controls\u003c\/span\u003e\u003cbr\u003e The Mercury M76m Gain Control of 0 to +60dB in 6dB increments, works in conjunction with the Level Control and Output Attenuation. The Level Control, which will work as a ‘fader’, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical (tube) “break up” by decreasing your level (control) and increasing the (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings. We have also added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on\/off) , Phase (Polarity) Reverse, and our amazing sounding F.D.I. (FET Direct Input) Circuit. \u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through. \u003cbr\u003e \u003cbr\u003e \"With it's stellar sound, faithfulness to the original V76, unique tonal flexibility, and helpful array of modern conveniences, the M76m could very well be the ultimate 'vintage-style' mic preamp available today.\" \u003cspan style=\"font-weight: bold;\"\u003e- Pete Weiss, TapeOp Magazine \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eAbout Mercury Custom Shop\u003cbr\u003e \u003c\/span\u003eMercury Recording Equipment Co. was started with inspiration of warm tones, quality craftsmanship and the classic aesthetics from the vintage recording equipment used and appreciated for the past 60 years to record music. Mercury tenaciously created our line as close to original sound, build quality and aesthetic as we could with a new build. We added some features more for aesthetic purposes then functionality which have been very appreciated by vintage gear aficionados. But, those aesthetic ‘extras’ add additional costs to each product. \u003cbr\u003e \u003cbr\u003e So to help keep costs down, and make our world class products more affordable we will offer two versions of some products. Neither will compromise the standard of quality Mercury is known for, or the sound. Because the circuit and parts internally are both exactly the same in every way. Mercury and our dealer network will offer the new M72s (Mk. III) as our standard model and the M72s-CSV (Custom Shop Version) with aesthetic extras to look and feel like the vintage models. As well as, the new M76m (Mk. III) minus the backlit gain dial and nickel plated “handles” too pay homage to the vintage modules of yesteryear. But, if you are looking for the vintage vibe, all those features are still proudly offered on the M76m-CSV (Custom Shop Version). \u003cbr\u003e \u003cbr\u003e \"This is my way of compromising without compromising... offering both versions of some products. Trying to keep alive the original vision I had for Mercury providing premium quality recording products, with the vintage look, tone and musicality only found in the past, and doing this as affordable as we can...\" \u003cspan style=\"font-weight: bold;\"\u003e- David Marquette\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eSpecifications\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMic Input Impedance: Approx. 2k\u003c\/li\u003e\n\u003cli\u003eSuggested Source Impedance: Approx. 200 ohms\u003c\/li\u003e\n\u003cli\u003eDI Input Impedance: 2M ohms\u003c\/li\u003e\n\u003cli\u003eInternal Output impedance: 30-50 ohms (depends on gain setting)\u003c\/li\u003e\n\u003cli\u003eSuggested Minimum Load: 500 ohms\u003c\/li\u003e\n\u003cli\u003eFrequency response: 20 Hz to 20 kHz +\/- 0.5dB\u003c\/li\u003e\n\u003cli\u003eHarmonic Distortion: All musically related low orders of harmonics, with no\u003c\/li\u003e\n\u003cli\u003esignificant order above 5th.\u003c\/li\u003e\n\u003cli\u003eTubes: 3x EF806s, 1x E83F, per channel\u003c\/li\u003e\n\u003cli\u003eRack Size: 3U\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eFAQ: Mercury M72s vs. M76m, Whats the difference?\u003c\/span\u003e\u003cbr\u003e Both are multipurpose tools for making music. But they do sound very different. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eTone\u003c\/span\u003e\u003cbr\u003e The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly \"EQ'd\". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+\/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eGain\u003c\/span\u003e\u003cbr\u003e The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449550336103,"sku":"17410","price":1795.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_m76m_studio_mic_amp__127_cat_1_03dd5e12-e47f-4c85-a298-c59883ad960d.jpg?v=1787089417"},{"product_id":"mercury-m76m-studio-microphone-amplifier-0136-used","title":"Mercury M76m Studio Microphone Amplifier #0136 (Used)","description":"The new \u003cspan style=\"font-weight: bold;\"\u003eMercury M76m (Mk. III)\u003c\/span\u003e is the latest version of Mercury's benchmark, tube Mercury Studio Microphone Amplifier. The M76m is based on one of the most sought after vintage amplifier modules, the ‘Telefunken\/Siemens’ V76m. These modules were used in European broadcast and recording studios in the 1960’s. Later, after tube consoles where out of favor and replaced by smaller (yet with more channels), discrete, transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in the studios around the world. \u003cbr\u003e \u003cbr\u003e Inspired by the vintage tone and craftsmanship of the classic, the Mercury M76m (Mk. III) focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The new M76m (Mk. III) has a new look but same stellar tone and craftsmanship and still proudly built in the USA. We only simplified the look of the front panel by deleting the vintage inspired, aesthetic extras of the M76m MK II, which is still available on the M76m-CSV (custom shop version). Most importantly, the M76m (Mk III) is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers we have used since we started building the first M76m at Mercury Recording Equipment. \u003cbr\u003e \u003cbr\u003e The Mercury M76m is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on nearly 20 years experience repairing, rebuilding, and most importantly listening to the Telefunken\/Siemens V76 modules it was our first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. We are confident we have built what is quite possibly the ultimate combination of vintage sound and modern features in a modern tube microphone amplifier. We feel we have captured not only of how the units behave, but of how they sound overall. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and High\/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFeatures and Controls\u003c\/span\u003e\u003cbr\u003e The Mercury M76m Gain Control of 0 to +60dB in 6dB increments, works in conjunction with the Level Control and Output Attenuation. The Level Control, which will work as a ‘fader’, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical (tube) “break up” by decreasing your level (control) and increasing the (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings. We have also added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on\/off) , Phase (Polarity) Reverse, and our amazing sounding F.D.I. (FET Direct Input) Circuit. \u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through. \u003cbr\u003e \u003cbr\u003e \"With it's stellar sound, faithfulness to the original V76, unique tonal flexibility, and helpful array of modern conveniences, the M76m could very well be the ultimate 'vintage-style' mic preamp available today.\" \u003cspan style=\"font-weight: bold;\"\u003e- Pete Weiss, TapeOp Magazine \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eAbout Mercury Custom Shop\u003cbr\u003e \u003c\/span\u003eMercury Recording Equipment Co. was started with inspiration of warm tones, quality craftsmanship and the classic aesthetics from the vintage recording equipment used and appreciated for the past 60 years to record music. Mercury tenaciously created our line as close to original sound, build quality and aesthetic as we could with a new build. We added some features more for aesthetic purposes then functionality which have been very appreciated by vintage gear aficionados. But, those aesthetic ‘extras’ add additional costs to each product. \u003cbr\u003e \u003cbr\u003e So to help keep costs down, and make our world class products more affordable we will offer two versions of some products. Neither will compromise the standard of quality Mercury is known for, or the sound. Because the circuit and parts internally are both exactly the same in every way. Mercury and our dealer network will offer the new M72s (Mk. III) as our standard model and the M72s-CSV (Custom Shop Version) with aesthetic extras to look and feel like the vintage models. As well as, the new M76m (Mk. III) minus the backlit gain dial and nickel plated “handles” too pay homage to the vintage modules of yesteryear. But, if you are looking for the vintage vibe, all those features are still proudly offered on the M76m-CSV (Custom Shop Version). \u003cbr\u003e \u003cbr\u003e \"This is my way of compromising without compromising... offering both versions of some products. Trying to keep alive the original vision I had for Mercury providing premium quality recording products, with the vintage look, tone and musicality only found in the past, and doing this as affordable as we can...\" \u003cspan style=\"font-weight: bold;\"\u003e- David Marquette\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eSpecifications\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eMic Input Impedance: Approx. 2k\u003c\/li\u003e\n\u003cli\u003eSuggested Source Impedance: Approx. 200 ohms\u003c\/li\u003e\n\u003cli\u003eDI Input Impedance: 2M ohms\u003c\/li\u003e\n\u003cli\u003eInternal Output impedance: 30-50 ohms (depends on gain setting)\u003c\/li\u003e\n\u003cli\u003eSuggested Minimum Load: 500 ohms\u003c\/li\u003e\n\u003cli\u003eFrequency response: 20 Hz to 20 kHz +\/- 0.5dB\u003c\/li\u003e\n\u003cli\u003eHarmonic Distortion: All musically related low orders of harmonics, with no\u003c\/li\u003e\n\u003cli\u003esignificant order above 5th.\u003c\/li\u003e\n\u003cli\u003eTubes: 3x EF806s, 1x E83F, per channel\u003c\/li\u003e\n\u003cli\u003eRack Size: 3U\u003c\/li\u003e\n\u003c\/ul\u003e \u003cspan style=\"font-weight: bold;\"\u003eFAQ: Mercury M72s vs. M76m, Whats the difference?\u003c\/span\u003e\u003cbr\u003e Both are multipurpose tools for making music. But they do sound very different. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eTone\u003c\/span\u003e\u003cbr\u003e The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly \"EQ'd\". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+\/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eGain\u003c\/span\u003e\u003cbr\u003e The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).)","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449553547367,"sku":"33314","price":1795.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_m76m_studio_mic_amp__0136_cat_e5e2fffb-8643-43c0-8adc-188c5e6245e3.jpg?v=1787089432"},{"product_id":"mercury-eq-p1-equalizer-0127-used","title":"Mercury EQ-P1 Equalizer #0127 (Used)","description":"Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eMercury Recording Equipment Co.\u003c\/b\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-P1 Program Equalizer\u003c\/span\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility, and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cb\u003eMercury EQ-P1 Program Equalizer\u003c\/b\u003e has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eInterstage Transformer In\/Out Switch \u003c\/b\u003e\u003cbr\u003eThe only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in\/out switch, below the EQ in\/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the \"in\" position, it is more \"vintage\" like the original Pultec. Up, in the \"out\" position, it is a little more \"open\" and \"airy\" on the top. Either way, the input and output transformers are always in the circuit. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFrequencies\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\n\u003cli\u003e Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k \u003c\/li\u003e\n\u003cli\u003e High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB \u003c\/li\u003e\n\u003c\/ul\u003e \u003cb\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eThe Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449571078247,"sku":"33934","price":1795.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_eq-p1_equalizer__0127_cat_f8079c6d-12d3-4968-8dda-bdde4db6be70.jpg?v=1787089508"},{"product_id":"mercury-eq-p1-equalizer-0133-used","title":"Mercury EQ-P1 Equalizer #0133 (Used)","description":"Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eMercury Recording Equipment Co.\u003c\/b\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-P1 Program Equalizer\u003c\/span\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility, and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cb\u003eMercury EQ-P1 Program Equalizer\u003c\/b\u003e has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eInterstage Transformer In\/Out Switch \u003c\/b\u003e\u003cbr\u003eThe only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in\/out switch, below the EQ in\/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the \"in\" position, it is more \"vintage\" like the original Pultec. Up, in the \"out\" position, it is a little more \"open\" and \"airy\" on the top. Either way, the input and output transformers are always in the circuit. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFrequencies\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\n\u003cli\u003e Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k \u003c\/li\u003e\n\u003cli\u003e High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB \u003c\/li\u003e\n\u003c\/ul\u003e \u003cb\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eThe Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449571143783,"sku":"33933","price":1795.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_eq-p1_equalizer__0133_cat_cbfd60cf-c77f-4e1a-81a3-985e34c57a5f.jpg?v=1787089508"},{"product_id":"mercury-m72s-0141-used","title":"Mercury M72S #0141 (Used)","description":"\u003cbr\u003e The Mercury M72s is based on the very rare V72s module used in consoles due to a minimal amount made. The more common V72 amplifier modules (not marked with lower case s, ie V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and, in some cases are now in need of much repair.\u003cbr\u003e \u003cbr\u003e Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a \"secret weapon\" for many studio musicians. Mercury Recording Equipment is proud to have a faithful reproduction in the M72s. We have nearly 20 years experience with the amplifiers and feel we have captured the essence not only of how the units behave, but of how they sound overall. We are confident that the addition of modern features makes the M72s much more versatile, without sacrificing the most important feature: Musicality.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eMercury M72s Features\u003c\/span\u003e\u003cbr\u003e The Gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments, controlled with a high quality rotary switch. Also, there is an option of a selectable Input Pad of -16dB or -28dB for even more control. Additionally, when the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run signal through the M72s to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: Phantom Power (on\/off) , Phase (Polarity) Reversal, and our amazing sounding F.D.I. (FET Direct Input) circuit per channel.\u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone pre-amp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each pre-amp comes through.\u003cbr\u003e \u003cbr\u003e The Mercury M72s has the rich lows and punchy mids giving you that ‘instant’ vocal tone, a realistic acoustic guitar tone, or add punch to a bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s Studio Microphone Amplifier has the ‘vintage’ tone and break up like the original circuit but it is a bit more musical over all (not cleaner, more musical, there is a huge difference).\u003cbr\u003e \u003cbr\u003e \"After building 100's of Vintage V72 packages at Marquette Audio Labs it is nice to know we can continue a tradition that we have been providing for over 10 years now. We are very proud of the Mercury M72s Studio Microphone Amplifiers at M.A.L. and I am personally very pleased with this product which has exceeded my expectations\". \u003cspan style=\"font-weight: bold;\"\u003e- David Marquette (Marquette Audio Labs \/ Mercury Recording Equipment Co. ) \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \"The M72 brings the vocal up in your face in a mix. Not only that, when you're singing, you can distinguish every little nuance.\" \u003cspan style=\"font-weight: bold;\"\u003e- Ricky Skaggs\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e “Having used the Mercury M72s I now see no need to scour Eastern Europe to search for the last of the original units.â€ \u003cspan style=\"font-weight: bold;\"\u003e- Joe Chiccarelli\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \"The M72s sounds every bit as good as an original V72s, imparting that nice pillowy softness that is so difficult to get...\" \u003cspan style=\"font-weight: bold;\"\u003e- Pete Weiss, TapeOp Magazine\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eSpecifications\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eMic Input Impedance: Approx. 2k\u003c\/li\u003e\n\u003cli\u003eSuggested Source Impedance: Approx. 200 ohms\u003c\/li\u003e\n\u003cli\u003eInput Impedance with -28dB Pad: Approx. 4k\u003c\/li\u003e\n\u003cli\u003eDI Input Impedance: 2M ohms\u003c\/li\u003e\n\u003cli\u003eInternal Output impedance: 30-50 ohms (depends on gain setting)\u003c\/li\u003e\n\u003cli\u003eSuggested Minimum Load: 500 ohms\u003c\/li\u003e\n\u003cli\u003eMax. Mic Signal Input Level (@ 20 Hz): +34dBu with -28dB Pad engaged \/ +6dBu with\u003c\/li\u003e\n\u003cli\u003ePad not engaged\u003c\/li\u003e\n\u003cli\u003eMax. Output Level: +22dBu\u003c\/li\u003e\n\u003cli\u003eFrequency response: 20 Hz to 20 kHz +\/- 0.5dB\u003c\/li\u003e\n\u003cli\u003eHarmonic Distortion: All musically related low orders of harmonics, with no\u003c\/li\u003e\n\u003cli\u003esignificant order above 5th.\u003c\/li\u003e\n\u003cli\u003eTubes: 2x EF806s, per channel\u003c\/li\u003e\n\u003cli\u003eRack Size: 2U\u003c\/li\u003e\n\u003c\/ul\u003e \u003cspan style=\"font-weight: bold;\"\u003eFAQ: Mercury M72s vs. M76m, Whats the difference?\u003c\/span\u003e\u003cbr\u003e Both are multipurpose tools for making music. But they do sound very different.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eTone\u003c\/span\u003e\u003cbr\u003e The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly \"EQ'd\". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+\/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.\u003cbr\u003e \u003cbr style=\"font-weight: bold;\"\u003e \u003cspan style=\"font-weight: bold;\"\u003eGain\u003c\/span\u003e\u003cbr\u003e The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449572257895,"sku":"33904","price":1400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_mercury_m72s-1__0141_cat_d1505974-2f0b-4d6e-a0d4-951e3652ccbc.jpg?v=1787089513"},{"product_id":"mercury-grand-preq15s-demo-deal","title":"Mercury Grand PreQ15s (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eMercury Grand PreQ15s\u003c\/strong\u003e is a mono, fully discrete Studio  Channel, with 3 Band Equalizer and High \u0026amp; Low Pass Filters and is  fully balanced with transformer coupled Input and Output. The GPQ15s has  many additions to the Classic circuit as well as all the modern  features you will require packed into a solidly built 1U Chassis. The  Mercury GPQ15s boasts premium components, custom transformers, and is  proudly built in the USA. The GPQ15s comes with an external, Premium  Quality Power Supply, the Mercury DC-1.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMercury DC-1 PSU (Power Supply Unit)\u003c\/strong\u003e\u003cbr\u003eThe  Mercury DC-1 is a ‘real’ Power Supply. Designed by Mercury, to power  Professional Audio Equipment. The Mercury DC-1 uses a large Toroidal  Transformer and has dual regulation for clean, quiet power. Comes with a  5 pin XLR cable to run from Mercury DC-1 to the Mercury GPQ15s.\u003cbr\u003e\u003cbr\u003e“After  many years custom racking ‘Vintage BBC Spec’ Console Input Modules and  having the luxury of being able to hear just about every one of the  Discrete, British Pre\/EQ modules ever made... I have always had a  favorite. I am a fan of many of them, but one has always seemed to shine  above the rest, for me, due to its silky smooth tone and overall  musicality, the Vintage Calrec PQ15s. I am thrilled to be able to share  this old favorite, in a new way and with some additional features in our  Mercury Grand PreQ15s”. \u003cbr\u003e\u003cstrong\u003e- David Marquette, Mercury Recording Equipment Co.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449604141159,"sku":"37433","price":1995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_gpq15s_1_d931575e-1c38-480b-b5fd-01221ca7a337.jpg?v=1787089655"},{"product_id":"mercury-gp1-mono-mic-pre-0108-used","title":"Mercury GP1 Mono Mic Pre #0108 (Used)","description":"“For many years we have had access to most 'vintage' equipment in the marketplace. We have worked with many of those vintage modules from Telefunken, Siemens, Neve, Audix, Langevin, Calrec and many others. The PQ15s has always been a favorite and I personally prefer it to the other 'British' Pre\/EQ modules of the similar type. I always thought it was a shame that there was not an affordable way to get the great sound of that Pre\/Eq module in the form of just a stand alone Microphone Amplifier (without the EQ). There have been other options available like vintage line amp modules that can be converted to micpres, which sound good, but do not have the exact sound of the Pre\/EQ modules. With the Mercury Grand Pre we have provided what I have wanted to do for years... which is to build a Solid State, Discrete microphone amplifier with the 70's 'British' vibe which has all the rounded punch but more musicality than you are used to hearing.\" - \u003ci\u003eDavid Marquette\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eThe \u003cb\u003eMercury GP1\u003c\/b\u003e is more open and musical than other similar amplifiers of the same type and\/or topology. Just to be perfectly clear... the Mercury Grand Pre is not another \"Twelve Seventy Two\" clone. Instead, the Grand Pre is the new, Alternative British Classic!\u003cbr\u003e\u003cbr\u003eThe Mercury Grand Pre is available in both two channel and one channel (GP1) versions. Features include: Input Gain Control 0-60dB in 12dB steps (-0, -12, -24, -36, -48 and -60dB), that works in combination with the Fine Gain Control (trim) that is +\/- 8dB. Phantom (48V), Phase Reverse (Polarity), an Output Control (Fader) and a newly designed FET Direct Input, per channel. The FET Direct Input on the Mercury Grand Pre is very full sounding. There is more mid range and low end presence then most D.I.s as well as an open and airy top end and overall punchiness you would expect from a Class A Discrete Amplifier. The inputs and outputs of the Grand Pre are balanced using the original Sowter transformers. The Mercury Grand Pre's internally mounted power supply uses a toroidal transformer and is regulated for super low noise and stable performance. In addition each amplifier channel is locally regulated to eliminate cross talk between channels.\u003cbr\u003e\u003cbr\u003eThe Mercury Grand Pre is 19\" rack mountable and housed in a beautiful, gray hammer finish, steel chassis. The aluminum front (control) panel has a custom powder coated finish giving the Mercury Grand Pre the look and feel of the era it comes from with a twist. The Grand Pre has the \"look\" of a Classic Hot rod with it's black, red and chrome color scheme. The Mercury Grand Pre has \"the goods\" under the hood and is always ready to race for pink slips. Compare it to other Micpres of the same type and you will understand why it is called the \"Grand Pre\" and why it holds the checkered flag!","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449614528615,"sku":"37705","price":809.1,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_37705_1_8b3122cf-76a3-4853-8815-e465f72fe4e2.jpg?v=1787089701"},{"product_id":"mercury-d-series-g810-rack-system-i","title":"Mercury D Series G810 Rack System - I","description":"\u003ctable border=\"0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\r\n\u003ctbody\u003e\r\n\u003ctr valign=\"top\"\u003e\r\n\u003ctd\u003e\r\n\u003cp\u003e\u003cspan\u003eThe \u003cstrong\u003eMercury D Series G810 Rack System \u003c\/strong\u003esolves the biggest complaint for users of other '500 racks' in the marketplace, lack of power. Especially when using products that are not built to the specifications of the '500' standard. The products not built to that standard take more than their share of the power to work, which, in turn, causes problems with all other modules in the rack. This is not an issue with the Mercury D Series G810 Rack System.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eThe power specification for Mercury D Series G810 Rack System is much higher than the spec of the '500' Standard. Providing more power does not solve the power problems of '500' Racks, so, Mercury successfully designed a better Power Structure not just providing more amps\/watts. Mercury designed the Mercury Power Regulation Circuit as a solution to '500' Rack power problems. The Mercury Power Regulation Circuit is not only in the rack, it is on every channel of the rack offering individual regulation per channel. The Mercury D Series G810 Rack System is the first '500' Rack to have this feature and is why we feel this is not only a better rack but a better system overall. The Mercury Power Regulation Circuit allows each channel to be isolated from the channel next to it or any other channel in the rack, which will protect from faults or emissions from problematic modules. No module in the Mercury D Series G810 Rack System shares DC power with another module in the rack.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eIn addition of the Mercury Power Regulation Circuit, there is also the Mercury Soft Start Circuit featured in the Mercury D Series G810 Rack System as well. The Mercury Soft Start Circuit allows power to 'ramp up' slowly and will gradually and gently apply voltage to your expensive D Series or '500 Series' modules when you power up. This is better for your modules as well it reduces the danger to woofers that could be damaged with 'turn-on' thump when part of a larger system.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp class=\"subtext\"\u003e\u003cstrong\u003eRock Solid Construction\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp style=\"padding-left: 30px;\"\u003eThe Mercury D Series G810 Rack System is simply built like a Tank. Like all Mercury Recording Equipment Co. products, the Mercury D Series G810 Rack System is engineered to be reliable and look good in your studio but built to be road-worthy.\u003c\/p\u003e\r\n\u003cp class=\"subtext\"\u003e\u003cstrong\u003eFlexible\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp style=\"padding-left: 30px;\"\u003eOn the back panel of the Mercury D Series G810 Rack System - I, there are Gold Pin XLRs (for channels 1-10) and DB25 (DSUB) connectors for channels 1-8 to give you choices of how you install your system. The Mercury D Series Line will have several choices of power supplies to be able to power a single rack or several in the future. The first is the Mercury D Series PSU-1. All Mercury D Series Power Supplies feature Studio Quality, Low Noise, Linear Power designed for Audio. The D Series PSU-1 Power supply is also rack mountable or can sit on the tabletop next to the rack or on the floor etc... You can also mount two D Series PSU-1 Power Supplies together as a dual 1U unit to save valuable rack space, and there are places for optional feet on the bottom if needed.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eFeatures:\u003c\/strong\u003e \u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eEasily convertible between being rack mountable or free standing (rack and PSU) - rack ear kit requires additional purchase\u003c\/li\u003e\r\n\u003cli\u003eSupports ten D Series \/ '500 Series' modules \u003c\/li\u003e\r\n\u003cli\u003eProudly built in the USA\u003c\/li\u003e\r\n\u003cli\u003eMercury D Series PSU-1 included: 2.5A+ of clean, stable power\u003c\/li\u003e\r\n\u003cli\u003eMercury Power Regulation Circuit for each slot \/ channel\u003c\/li\u003e\r\n\u003cli\u003eMercury Soft Start Circuit\u003c\/li\u003e\r\n\u003cli\u003eHeavy duty steel and aluminum chassis \u003c\/li\u003e\r\n\u003cli\u003eShielded internal electronics inside the rack and PSU\u003c\/li\u003e\r\n\u003cli\u003eIndividual Gold Pin XLR connectors (ch. 1-10)*\u003c\/li\u003e\r\n\u003cli\u003eConvenient DB25 connectors (ch. 1-8)* \u003c\/li\u003e\r\n\u003cli\u003eG810 chain switch for each channel\u003c\/li\u003e\r\n\u003cli\u003eG810 link switch for each channel\u003c\/li\u003e\r\n\u003cli\u003eGround lift switch for quiet operation in all environments\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cul\u003e\r\n\u003c\/ul\u003e\r\n\u003cbr\u003e*You can use either or, but not both at the same time\r\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eChoosing between System I and System II:\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eMercury D Series G810 Rack System I has all the features available in the G8 System. Mercury power structure, rack mountable or table top usability, G8 module compatible in slots 9 \u0026amp; 10, ground lift, chain for ch. 1-10, link ch. 1-10, XLR in\/out for ch. 1-10 and DB25 for ch. 1-8.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMercury D Series G810 Rack System II has the same Mercury power structure, rack-mountable or tabletop usability, G8 module compatible in slots 9 \u0026amp; 10, ground lift, no chain function, sequential linking only ch. 1 to ch. 2, ch. 3 to ch. 4 etc., XLR in\/out for ch. 9-10 only and DB25 only for ch. 1-8. Mercury D Series G810 Rack System II is meant to be used with a patch bay so you can chain things together there, instead of on the back of the rack. The Mercury D Series G810 Rack System II is not a lower quality system, Mercury just took into consideration that some people will not need all of the features and lowered the cost to help provide a quality product with only the features needed.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003chr\u003e\r\n\u003cp\u003e\"It is without question that Mercury reached our goal of building a more flexible, more innovative, more stable and more reliable way of using and \u003cspan style=\"white-space: pre;\"\u003e \u003c\/span\u003eespecially powering '500 Modules.' The new Mercury Power Structure is a leap forward from the original '500' power structure.\"\u003c\/p\u003e\r\n\u003cstrong\u003eDavid Marquette, \u003cspan\u003eMarquette Audio Labs \/ Mercury Recording Equipment Co.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003c\/ul\u003e\r\n\u003c\/td\u003e\r\n\u003c\/tr\u003e\r\n\u003c\/tbody\u003e\r\n\u003c\/table\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449619738727,"sku":"38285","price":1998.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury-d-series-g810-rack-system-1_38285_1a_ee835427-62d9-464f-8866-258a41b3ec19.jpg?v=1787089725"},{"product_id":"mercury-d-series-g810-rack-system-ii","title":"Mercury D Series G810 Rack System - II","description":"\u003ctable border=\"0\" cellspacing=\"0\" cellpadding=\"0\"\u003e\r\n\u003ctbody\u003e\r\n\u003ctr valign=\"top\"\u003e\r\n\u003ctd\u003e\r\n\u003cp\u003e\u003cspan\u003eThe \u003cstrong\u003eMercury D Series G810 Rack System \u003c\/strong\u003esolves the biggest complaint for users of other '500 racks' in the marketplace, lack of power. Especially when using products that are not built to the specifications of the '500' standard. The products not built to that standard take more than their share of the power to work, which, in turn, causes problems with all other modules in the rack. This is not an issue with the Mercury D Series G810 Rack System.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eFeaturing thick aluminum rack ears and a durable steel chassis for both strength and optimum shielding for internal electronics, the G810 is built like a tank. Like all Mercury Recording Equipment Co. products, this rack system is engineered to be reliable and look good in your studio, while also being totally road-worthy.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003eThe power specification for Mercury D Series G810 Rack System is much higher than the spec of the '500' Standard. Providing more power does not solve the power problems of '500' Racks, so, Mercury successfully designed a better Power Structure not just providing more amps\/watts. Mercury designed the Mercury Power Regulation Circuit as a solution to '500' Rack power problems. The Mercury Power Regulation Circuit is not only in the rack, it is on every channel of the rack offering individual regulation per channel. The Mercury D Series G810 Rack System is the first '500' Rack to have this feature and is why we feel this is not only a better rack but a better system overall. The Mercury Power Regulation Circuit allows each channel to be isolated from the channel next to it or any other channel in the rack, which will protect from faults or emissions from problematic modules. No module in the Mercury D Series G810 Rack System shares DC power with another module in the rack.\u003c\/p\u003e\r\n\u003cp\u003eIn addition of the Mercury Power Regulation Circuit, there is also the Mercury Soft Start Circuit featured in the Mercury D Series G810 Rack System as well. The Mercury Soft Start Circuit allows power to 'ramp up' slowly and will gradually and gently apply voltage to your expensive D Series or '500 Series' modules when you power up. This is better for your modules as well it reduces the danger to woofers that could be damaged with 'turn-on' thump when part of a larger system.\u003c\/p\u003e\r\n\u003cp class=\"subtext\"\u003e\u003cstrong\u003eRock Solid Construction\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003eThe Mercury D Series G810 Rack System is simply built like a Tank. Featuring thick aluminum rack ears, and a durable steel chassis, for both strength and optimum shielding for internal electronics. Like all Mercury Recording Equipment Co. products, the Mercury D Series G810 Rack System is engineered to be reliable and look good in your studio but built to be road-worthy.\u003c\/p\u003e\r\n\u003cp class=\"subtext\"\u003e\u003cstrong\u003eFlexible\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003eOn the back panel of the Mercury D Series G810 Rack System - I, there are Gold Pin XLRs (for channels 1-10) and DB25 (DSUB) connectors for channels 1-8 to give you choices of how you install your system. The Mercury D Series Line will have several choices of power supplies to be able to power a single rack or several in the future. The first is the Mercury D Series PSU-1. All Mercury D Series Power Supplies feature Studio Quality, Low Noise, Linear Power designed for Audio. The D Series PSU-1 Power supply is also rack mountable or can sit on the tabletop next to the rack or on the floor etc... You can also mount two D Series PSU-1 Power Supplies together as a dual 1U unit to save valuable rack space, and there are places for optional feet on the bottom if needed.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003cp\u003e*You can use either or, but not both at the same time\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eChoosing between System I and System II:\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eMercury D Series G810 Rack System I has all the features available in the G8 System. Mercury power structure, rack mountable or table top usability, G8 module compatible in slots 9 \u0026amp; 10, ground lift, chain for ch. 1-10, link ch. 1-10, XLR in\/out for ch. 1-10 and DB25 for ch. 1-8.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMercury D Series G810 Rack System II has the same Mercury power structure, rack-mountable or tabletop usability, G8 module compatible in slots 9 \u0026amp; 10, ground lift, no chain function, sequential linking only ch. 1 to ch. 2, ch. 3 to ch. 4 etc., XLR in\/out for ch. 9-10 only and DB25 only for ch. 1-8. Mercury D Series G810 Rack System II is meant to be used with a patch bay so you can chain things together there, instead of on the back of the rack. The Mercury D Series G810 Rack System II is not a lower quality system, Mercury just took into consideration that some people will not need all of the features and lowered the cost to help provide a quality product with only the features needed.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003chr\u003e\r\n\u003cp\u003e\"It is without question that Mercury reached our goal of building a more flexible, more innovative, more stable and more reliable way of using and \u003cspan style=\"white-space: pre;\"\u003e \u003c\/span\u003eespecially powering '500 Modules.' The new Mercury Power Structure is a leap forward from the original '500' power structure.\"\u003c\/p\u003e\r\n\u003cstrong\u003eDavid Marquette, \u003cspan\u003eMarquette Audio Labs \/ Mercury Recording Equipment Co.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003c\/ul\u003e\r\n\u003c\/td\u003e\r\n\u003c\/tr\u003e\r\n\u003c\/tbody\u003e\r\n\u003c\/table\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449629110375,"sku":"38296","price":1798.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_g810_front_1_47293a6f-fdef-4591-84d5-6c57319c0029.jpg?v=1787089753"},{"product_id":"mercury-eq-p1-equalizer-0145-used","title":"Mercury EQ-P1 Equalizer #0145 (Used)","description":"Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eMercury Recording Equipment Co.\u003c\/b\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-P1 Program Equalizer\u003c\/span\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility, and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cb\u003eMercury EQ-P1 Program Equalizer\u003c\/b\u003e has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eInterstage Transformer In\/Out Switch \u003c\/b\u003e\u003cbr\u003eThe only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in\/out switch, below the EQ in\/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the \"in\" position, it is more \"vintage\" like the original Pultec. Up, in the \"out\" position, it is a little more \"open\" and \"airy\" on the top. Either way, the input and output transformers are always in the circuit. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFrequencies\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\n\u003cli\u003e Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k \u003c\/li\u003e\n\u003cli\u003e High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB \u003c\/li\u003e\n\u003c\/ul\u003e \u003cb\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eThe Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449644871783,"sku":"39265","price":1895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_39265_1_adc15d9b-389d-4930-90df-f1932833ed4b.jpg?v=1787089813"},{"product_id":"mercury-eq-p1-equalizer-0147-used","title":"Mercury EQ-P1 Equalizer #0147 (Used)","description":"Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eMercury Recording Equipment Co.\u003c\/b\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-P1 Program Equalizer\u003c\/span\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility, and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cb\u003eMercury EQ-P1 Program Equalizer\u003c\/b\u003e has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eInterstage Transformer In\/Out Switch \u003c\/b\u003e\u003cbr\u003eThe only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in\/out switch, below the EQ in\/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the \"in\" position, it is more \"vintage\" like the original Pultec. Up, in the \"out\" position, it is a little more \"open\" and \"airy\" on the top. Either way, the input and output transformers are always in the circuit. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFrequencies\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\n\u003cli\u003e Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k \u003c\/li\u003e\n\u003cli\u003e High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB \u003c\/li\u003e\n\u003c\/ul\u003e \u003cb\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eThe Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449644904551,"sku":"39266","price":1895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_39266_1_373682c2-1359-4a2f-8cc7-0c4b657be000.jpg?v=1787089813"},{"product_id":"mercury-m76m-1-mkiii-demo-deal","title":"Mercury M76m\/1 MKIII (Demo Deal)","description":"\u003cp\u003eThe new \u003cspan style=\"font-weight: bold;\"\u003eMercury M76m\/1 (Mk. III)\u003c\/span\u003e is a mono version of the M76m. The M76m is based on one of the most sought after vintage amplifier modules, the ‘Telefunken\/Siemens’ V76m. These modules were used in European broadcast and recording studios in the 1960s. Later, after tube consoles where out of favor and replaced by smaller, more discrete transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in studios around the world. \u003cbr\u003e \u003cbr\u003e Inspired by the vintage tone and craftsmanship of the classic, the Mercury M76m (Mk. III) focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The new M76m (Mk. III) has a new look but same stellar tone and craftsmanship and is still proudly built in the USA. \u003cbr\u003e \u003cbr\u003e The Mercury M76m is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years, so working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on nearly 20 years experience repairing, rebuilding, and most importantly listening to the Telefunken\/Siemens V76 modules it was Mercury's first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and High\/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers. \u003cbr\u003e\u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFeatures:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Mercury M76m Gain Control of 0 to +60dB in 6dB increments, works in conjunction with the Level Control and Output Attenuation\u003c\/li\u003e\n\u003cli\u003eThe Level Control, which will work as a ‘fader’, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier - this also allows you the ability to add musical (tube) “break up” by decreasing your level (control) and increasing the (course) gain\u003c\/li\u003e\n\u003cli\u003eThe Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings\u003c\/li\u003e\n\u003cli\u003eImpedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on\/off) , Phase (Polarity) Reverse, and our amazing sounding F.D.I. (FET Direct Input) Circuit\u003c\/li\u003e\n\u003cli\u003eThe Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology\u003c\/li\u003e\n\u003cli\u003eThe Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone\u003c\/li\u003e\n\u003cli\u003eThe instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eSpecifications:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMic Input Impedance: Approx. 2k\u003c\/li\u003e\n\u003cli\u003eSuggested Source Impedance: Approx. 200 ohms\u003c\/li\u003e\n\u003cli\u003eDI Input Impedance: 2M ohms\u003c\/li\u003e\n\u003cli\u003eInternal Output impedance: 30-50 ohms (depends on gain setting)\u003c\/li\u003e\n\u003cli\u003eSuggested Minimum Load: 500 ohms\u003c\/li\u003e\n\u003cli\u003eFrequency response: 20 Hz to 20 kHz +\/- 0.5dB\u003c\/li\u003e\n\u003cli\u003eHarmonic Distortion: All musically related low orders of harmonics, with no\u003c\/li\u003e\n\u003cli\u003esignificant order above 5th.\u003c\/li\u003e\n\u003cli\u003eTubes: 3x EF806s, 1x E83F, per channel\u003c\/li\u003e\n\u003cli\u003eRack Size: 2u\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449652244583,"sku":"20917","price":3349.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_m76m1_1_1_19b47714-2337-4eeb-a959-7957686703ee.jpg?v=1787089845"},{"product_id":"mercury-eq-p1-equalizer-0200-used","title":"Mercury EQ-P1 Equalizer #0200 (Used)","description":"Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eMercury Recording Equipment Co.\u003c\/strong\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cstrong\u003eMercury EQ-P1 Program Equalizer\u003c\/strong\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility, and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cstrong\u003eMercury EQ-P1 Program Equalizer\u003c\/strong\u003e has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eInterstage Transformer In\/Out Switch \u003c\/strong\u003e\u003cbr\u003eThe only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in\/out switch, below the EQ in\/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the \"in\" position, it is more \"vintage\" like the original Pultec. Up, in the \"out\" position, it is a little more \"open\" and \"airy\" on the top. Either way, the input and output transformers are always in the circuit. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFrequencies\u003c\/strong\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\n\u003cli\u003e Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k \u003c\/li\u003e\n\u003cli\u003e High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB \u003c\/li\u003e\n\u003c\/ul\u003e \u003cstrong\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003eThe Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449653358695,"sku":"40848","price":1895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_40848_1_15963c64-41ab-4717-9cd4-90386a704609.jpg?v=1787089851"},{"product_id":"mercury-eq-p1-demo-deal","title":"Mercury EQ-P1 (Demo Deal)","description":"\u003cp\u003ePultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eMercury Recording Equipment Co.\u003c\/strong\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-P1 Program Equalizer\u003c\/span\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cstrong\u003eMercury EQ-P1 Program Equalizer\u003c\/strong\u003e has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eInterstage Transformer In\/Out Switch \u003c\/strong\u003e\u003cbr\u003eThe only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in\/out switch, below the EQ in\/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the \"in\" position, it is more \"vintage\" like the original Pultec. Up, in the \"out\" position, it is a little more \"open\" and \"airy\" on the top. Either way, the input and output transformers are always in the circuit. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFrequencies\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\r\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\r\n\u003cli\u003e Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\r\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad \u003c\/li\u003e\r\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k \u003c\/li\u003e\r\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB \u003c\/li\u003e\r\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k \u003c\/li\u003e\r\n\u003cli\u003e High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB \u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cstrong\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on Thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for Shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449655324775,"sku":"13945","price":2250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-p1_1_1_5635852e-fd53-4568-aa78-b5f5d57196a5.jpg?v=1787089860"},{"product_id":"mercury-eq-h1-demo-deal","title":"Mercury EQ-H1 (Demo Deal)","description":"\u003cp\u003ePultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eMercury Recording Equipment Co.\u003c\/strong\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cspan style=\"font-weight: bold;\"\u003eMercury EQ-H1 Program Equalizer\u003c\/span\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cstrong\u003eMercury EQ-H1 Program Equalizer\u003c\/strong\u003e has transformer balanced input and output, with a single ended gain make up amplifier. The EQ-H's passive EQ\/gain make up amp topology provides a musically satisfying result unobtainable with active and parametric EQs, since it does not rely upon negative feedback (and all it's associated phase and dynamic distortions) to achieve equalization. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFrequencies\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\n\u003cli\u003eLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 3, 4, 5, 8, 10, 12, 16 kHz \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +16dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16dB \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on Thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for Shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003eMercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449655357543,"sku":"40793","price":1595.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-h1_1_1_2796ee0a-6d6a-4afc-b628-3d4247c4de92.jpg?v=1787089860"},{"product_id":"mercury-m72s-1-mkiii-demo-deal","title":"Mercury M72s\/1 MKIII (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eMercury M72s\/1 (Mk. III)\u003c\/strong\u003e is the mono version of the Tube Mercury Studio Microphone Amplifier, the M72s. The Mercury M72s is based on the most sought after vintage amplifier module, the Telefunken\/Siemens V72s, which is most famous for being used in REDD.37 consoles, which was used on all the early Beatle recordings by George Martin at Abbey Road Studios in London, England.\u003cbr\u003e \u003cbr\u003e The Mercury M72s is based on the very rare V72s module used in consoles due to a minimal amount made. The more common V72 amplifier modules (not marked with lower case s, ie V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and, in some cases are now in need of much repair.\u003cbr\u003e \u003cbr\u003e Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a \"secret weapon\" for many studio musicians. Mercury Recording Equipment is proud to have a faithful reproduction in the M72s. \u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments, controlled with a high quality rotary switch. Also, there is an option of a selectable Input Pad of -16dB or -28dB for even more control. Additionally, when the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run signal through the M72s to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc. There are also all the modern features you expect on a new piece of equipment: Phantom Power (on\/off) , Phase (Polarity) Reversal, and the amazing sounding F.D.I. (FET Direct Input) circuit per channel.\u003cbr\u003e \u003cbr\u003e The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone pre-amp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each pre-amp comes through.\u003cbr\u003e \u003cbr\u003e The Mercury M72s has the rich lows and punchy mids giving you that ‘instant’ vocal tone, a realistic acoustic guitar tone, or add punch to a bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s Studio Microphone Amplifier has the ‘vintage’ tone and break up like the original circuit but it is a bit more musical over all (not cleaner, more musical, there is a huge difference).\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSpecifications:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMic Input Impedance: Approx. 2k\u003c\/li\u003e\n\u003cli\u003eSuggested Source Impedance: Approx. 200 ohms\u003c\/li\u003e\n\u003cli\u003eInput Impedance with -28dB Pad: Approx. 4k\u003c\/li\u003e\n\u003cli\u003eDI Input Impedance: 2M ohms\u003c\/li\u003e\n\u003cli\u003eInternal Output impedance: 30-50 ohms (depends on gain setting)\u003c\/li\u003e\n\u003cli\u003eSuggested Minimum Load: 500 ohms\u003c\/li\u003e\n\u003cli\u003eMax. Mic Signal Input Level (@ 20 Hz): +34dBu with -28dB Pad engaged \/ +6dBu with\u003c\/li\u003e\n\u003cli\u003ePad not engaged\u003c\/li\u003e\n\u003cli\u003eMax. Output Level: +22dBu\u003c\/li\u003e\n\u003cli\u003eFrequency response: 20 Hz to 20 kHz +\/- 0.5dB\u003c\/li\u003e\n\u003cli\u003eHarmonic Distortion: All musically related low orders of harmonics, with no\u003c\/li\u003e\n\u003cli\u003esignificant order above 5th.\u003c\/li\u003e\n\u003cli\u003eTubes: 2x EF806s, per channel\u003c\/li\u003e\n\u003cli\u003eRack Size: 2U\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eFAQ: Mercury M72s vs. M76m, Whats the difference?\u003c\/strong\u003e\u003cbr\u003e Both are multipurpose tools for making music. But they do sound very different.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTone\u003c\/strong\u003e\u003cbr\u003e The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly \"EQ'd\". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+\/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.\u003cbr\u003e \u003cstrong\u003e\u003cbr\u003e Gain\u003c\/strong\u003e\u003cbr\u003e The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449655423079,"sku":"40792","price":1795.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_m72s1_1_1_81e7e584-4a3c-47c3-a5fe-dcdc4a13de31.jpg?v=1787089860"},{"product_id":"mercury-eq-h1-equalizer-0012-used","title":"Mercury EQ-H1 Equalizer #0012 (Used)","description":"Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eMercury Recording Equipment Co.\u003c\/strong\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cstrong\u003eMercury EQ-H1 Program Equalizer\u003c\/strong\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cstrong\u003eMercury EQ-H1 Program Equalizer\u003c\/strong\u003e has transformer balanced input and output, with a single ended gain make up amplifier. The EQ-H's passive EQ\/gain make up amp topology provides a musically satisfying result unobtainable with active and parametric EQs, since it does not rely upon negative feedback (and all it's associated phase and dynamic distortions) to achieve equalization. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFrequencies\u003c\/strong\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\n\u003cli\u003eLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 3, 4, 5, 8, 10, 12, 16 kHz \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +16dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16dB \u003c\/li\u003e\n\u003c\/ul\u003e \u003cstrong\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/strong\u003e\u003cbr\u003e The Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on Thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for Shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003eMercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449659256935,"sku":"41110","price":1650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_41110_1_5f3c2f1e-7868-4c56-b9af-510412b2c442.jpg?v=1787089876"},{"product_id":"mercury-eq-p1-mkii-equalizer-0319-used","title":"Mercury EQ-P1 MKII Equalizer #0319  (Used)","description":"Pultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed! \u003cbr\u003e\u003cbr\u003e The original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eMercury Recording Equipment Co.\u003c\/strong\u003e is committed to recreating every magical nuance of the original in a modern production. The goal was that the \u003cstrong\u003eMercury EQ-P1 Program Equalizer\u003c\/strong\u003e would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility, and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply. \u003cbr\u003e\u003cbr\u003e The \u003cstrong\u003eMercury EQ-P1 Program Equalizer\u003c\/strong\u003e has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eInterstage Transformer In\/Out Switch \u003c\/strong\u003e\u003cbr\u003eThe only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in\/out switch, below the EQ in\/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the \"in\" position, it is more \"vintage\" like the original Pultec. Up, in the \"out\" position, it is a little more \"open\" and \"airy\" on the top. Either way, the input and output transformers are always in the circuit. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFrequencies\u003c\/strong\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz \u003c\/li\u003e\n\u003cli\u003eLow Frequency Boost Control: Shelf Boost, 0dB to +13dB \u003c\/li\u003e\n\u003cli\u003e Low Frequency Attenuate Control: Shelf Atten. 0dB to -17dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Bandwidth Control: Sharp to Broad \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB \u003c\/li\u003e\n\u003cli\u003eHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k \u003c\/li\u003e\n\u003cli\u003e High Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB \u003c\/li\u003e\n\u003c\/ul\u003e \u003cstrong\u003eMercury EQ-P1 Vs. EQ-H1. What's the difference?\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003eThe Mercury EQ-H1 has a different amplifier than the Mercury EQ-P1 thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application.\u003cbr\u003e\u003cbr\u003e The key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\u003cbr\u003e The EQ-H1 is more punchy and robust and the EQ-P1 is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus the EQ-H1 shines on thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury EQ-P1 is great for shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today? \u003cbr\u003e\u003cbr\u003e Mercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449673347175,"sku":"41875","price":1895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_41875_1_40ea60c6-ba15-4e3c-8ab8-a1111b0fa4be.jpg?v=1787089934"},{"product_id":"mercury-d-series-psu-1-2-6a","title":"Mercury D-Series PSU-1 2.6A","description":"\u003cp\u003eThe \u003cstrong\u003eMercury D-Series PSU-1\u003c\/strong\u003e is a custom, low noise, linear power supply designed for professional audio. Provides clean, stable power. Choose how much power you need for your modules, not what modules will work in your rack.\u003c\/p\u003e\r\n ","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449692352615,"sku":"43685","price":688.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_psu-1_angle_1_b8b740c0-69d9-4703-8d09-324b0cd8ada4.jpg?v=1787090008"},{"product_id":"mercury-d-series-psu-1-1-6a","title":"Mercury D-Series PSU-1 1.6A","description":"\u003cp\u003eThe \u003cstrong\u003eMercury D-Series PSU-1\u003c\/strong\u003e is a custom, low noise, linear power supply designed for professional audio. Provides clean, stable power. Choose how much power you need for your modules, not what modules will work in your rack.\u003c\/p\u003e\r\n ","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449692385383,"sku":"43684","price":459.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_psu-1_angle_dd300a5d-ded8-4541-8179-20b9d6b6d4f6.jpg?v=1787090008"},{"product_id":"mercury-d-series-g8-sum-it-module","title":"Mercury D Series G8 Sum-It Module 8:2 Summing Mixer","description":"\u003cp\u003eThe \u003cstrong\u003eMercury D Series G8 Sum-It\u003c\/strong\u003e is a 500 Series 8:2, passive summing mixer module for your Mercury G810 Rack System. A simple to operate, but flexible and convenient mixer to have on top of your work station or in your rack. Illuminated push button switches allow you to easily choose Left, Right or Center (for Center both are buttons are engaged) on the G8 Sum-It.\u003c\/p\u003e  \u003cp\u003eThe G8 Sum-It gives you many options that you can quickly and easily do during a recording session. From recording 8 tracks of Drums and summing down to stereo if you only have 2 Inputs to your DAW or Recorder - Or - You can easily sum multiple microphones together for Mono, Dual Mono or Stereo applications. If you have 3 mics on a Guitar Cabinet you can quickly sum them down to 1 channel by engaging 3 switches on the Mercury D Series G8 Sum-It. Note: You also can still use Direct Outs from Channel 1-8 to go to another DAW, Mixer etc...\u003c\/p\u003e  \u003cp\u003eThe best feature of the Mercury G8 Sum-It is that it is passive. Designed to use the Mercury M72s, M76m or GPQ15s Studio Microphone Amplifiers (but any Preamp at 34 dB for gain will work) as the Two Buss Amplifiers for the G8 Sum-It.\u003c\/p\u003e  \u003cp\u003eYou can easily change the tone of recording by changing the Two Buss Amplifiers on your G8 Sum-It.  Mix and Match your Mercury Studio Microphone Amplifiers to get the sound you want for Bass, Guitar, Drums, Keys etc...  Or you can easily send 4 Stereo Stem from your DAW out to your G810\/G8 Sum-It to get warmed up with you Mercury M72s working as your Two Buss Amplifier.\u003c\/p\u003e  \u003cp\u003eEasy set up Example: Take the Outputs of Channel 9 and 10 on the G810 Rack System (which is Left and Right out of the G8 Sum-It) and plug into the Inputs of your M72s or M76m.  Set gain to 34dB and you are at unity level for the Mercury D Series G8 Sum-It. Take the Outputs of the Mercury M72s (working as your Two Buss Amps) to your DAW or Recorder.\u003c\/p\u003e  \u003cp\u003eThe Mercury D Series G8 Sum-It is the first in the G8 Module Product Line. G8 Modules are proprietary 2 slot modules for slots 9 and 10 in your Mercury D Series G810 Rack System I or II. No other 500 rack has the interface capabilities to connect a Mercury G8 Module. The G8 Sum-It can be installed in both the G810 Rack System I and G810 Rack System II.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449699954791,"sku":"42240","price":798.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_sum_it_front_5c586d7a-f4b7-4297-aa71-59b0abc76c8d.jpg?v=1787090042"}],"url":"https:\/\/vintageking1.myshopify.com\/collections\/mercury.oembed","provider":"VINTAGE KING AUDIO","version":"1.0","type":"link"}