{"title":"Outboard Deals","description":null,"products":[{"product_id":"great-river-mp-500nv","title":"Great River MP-500NV 500 Series Microphone Preamp\/DI","description":"\u003cp\u003e\u003cspan\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGreat River MP-500NV\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eis a professional quality microphone preamplifier designed to re-create the vintage sound characteristics of the early 1970s large consoles.\u003cspan\u003e \u003c\/span\u003eModern components give the MP-500NV more clarity, punch and performance under normal use. In addition, features like metering before and after the major gain stages let the user drive it hard to greatly expand the range of sonic options.\u003cspan\u003e \u003c\/span\u003eAll microphones will benefit from the power of the MP-500NV preamplifier, including dynamic, condenser and especially ribbon types. The MP-500NV uses the same audio and metering circuit board found in the NV series preamplifiers. This unit is designed to fit into a \"500 Series\" rack using 2 available slots. It receives its power supply from the host rack. The unit is equipped with a HI-Z instrument jack that has its own input amplifier and was designed for DI applications.\u003cspan\u003e \u003c\/span\u003eAll specifications and performance details are identical to the NV series preamplifiers with the exception of size, weight, patch jack, -10dBv Out - 125ma current draw.\u003c\/span\u003e\u003c\/p\u003e","brand":"Great River Electronics","offers":[{"title":"Default Title","offer_id":44449236648039,"sku":"8888","price":716.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/great-river-mp500nv-23_8888_1.jpg?v=1787088256"},{"product_id":"api-512c-demo-deal","title":"API 512C (Demo Deal)","description":"\u003cp\u003eWhile it's entirely accurate to call the \u003cstrong\u003eAPI 512c\u003c\/strong\u003e an excellent all-around microphone preamp, that doesn't do it justice. The API 512c is arguably the most popular 500 Series module available, offering every bit of the classic API console sound in a single-channel 500 Series format. Some describe the character as \"pure.\" Some call it \"fast.\" However you define it, the 512c delivers 100% API sound...versatile and timeless.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eFaithful to the original API circuit designs\u003c\/li\u003e\r\n\u003cli\u003ePopular for its remarkable versatility\u003c\/li\u003e\r\n\u003cli\u003e500 Series format\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eFaithful to the original API circuit designs\u003c\/strong\u003e\u003cbr\u003eFor those of us who can't afford an original API console or simply don't have that kind of space, the API 512c is a gift. This single-channel mic preamp was faithfully designed to deliver the same distinct sound, at a price and in a format that makes sense for today's studios. The traditional fully discrete API circuit design is here, along with the famous API 2520 Op-amp. The API 512c also offers high headroom, with 65dB of gain on the mic preamp and 50dB on the line\/instrument side.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePopular for its remarkable versatility\u003c\/strong\u003e\u003cbr\u003eThe API 512c is possibly most noted for its versatility, just like the front end of the original API consoles that somehow sounded incredible no matter the application. You can get a huge, open vocal sound with the 512c, or use it for a certain \"pop\" on just about any source imaginable...cymbals, piano, acoustic guitar. It plays nicely with nearly any mic too. You'll hear the SM57 open up a bit. Or, pair it with your prized large-diaphragm condenser and notice all the details you love, with just the right of complementing color. The bottom line is, you really can't go wrong.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e500 Series format\u003c\/strong\u003e\u003cbr\u003eAPI truly pioneered the 500 Series format, finding a way to make their legendary sound available on a piece-by-piece basis to meet your specific needs. Within the format, the API 512c is a staple, an indispensable preamp for the vintage-minded studio with modern needs.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449358020711,"sku":"14554","price":799.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_512c_cat_1.jpg?v=1787088693"},{"product_id":"api-2500-demo-deal","title":"API 2500 (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eAPI 2500\u003c\/strong\u003e is a versatile stereo bus compressor that allows adjustment of sonic qualities that can alter the punch and tone of the stereo mix. The 19\" rack-mountable unit features API's patented \"thrust\" circuit for a chest-hitting, punchy bottom end. With its dual-channel design, the API 2500 is set up for stereo compression, but can also be used as two separate units via a single compression setting. The 2500 boasts a range of parameters that make it incredibly musical.\u003c\/p\u003e\r\n\u003cp\u003eAPI pushes the envelope of flexibility further with selectable \"old\" or \"new\" compression. The old-style uses the feedback type of compression found in the API 525, Universal Audio 1176, and the Fairchild 660\/670. The new style uses a feed-forward type, similar to other popular compressors.\u003c\/p\u003e\r\n\u003cp\u003eThe output stage features API's auto-makeup gain button, permitting the user to vary the threshold or ratio while automatically maintaining a constant output level. Fidelity is ensured with an all-discrete, fully balanced design, and two front panel VU meters show input, output, and gain reduction levels.\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449360117863,"sku":"13898","price":2520.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_2500_1.jpg?v=1787088702"},{"product_id":"api-525-demo-deal","title":"API 525 (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eAPI 525\u003c\/span\u003e was originally released in the 70's, the API 525 is a \"feedback\" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional \"Ceiling\" fine tune function modifies threshold \u003ci\u003eand\u003c\/i\u003e make-up gain for precise changes in compression without changes in output. A compression\/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u\/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, \u0026amp; 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance\/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.\u003cp\u003e\u003c\/p\u003e \u003cp\u003eThe API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA \"feed forward\" compressors so common today. A remarkable multi-function \"ceiling\" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics \"on the fly\" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.\u003c\/p\u003e \u003cp\u003eRelease times vary with frequency, with high frequency\/full bandwidth content released faster than just low frequency for natural envelope tracking. Attack time is fixed, chosen to catch the fastest peaks, without \"pumping\". Equally useful as a tracking, mixdown or program compressor\/limiter, the benefits of the API 525 are most obvious to those who use compression on a regular basis. \"Vintage\" dynamics control, an easy to use multi-function control set, and a wide range of 500 Series mounting options assure that the 525 will surpass your most critical applications. With the addition of a hard-wire bypass switch, a balanced input, and a pinout that is the same as all the other 500 series modules, the 525 is still, after 25 years—\"the sound\". Two or more 525s can be linked for multi-channel compression.\u003c\/p\u003e \u003cp\u003eThe 525 Feedback Compressor\/Limiter makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products. \u003c\/p\u003e\u003cp\u003eOriginally released in the 70's, the API 525 is a \"feedback\" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional \"Ceiling\" fine tune function modifies threshold \u003ci\u003eand\u003c\/i\u003e make-up gain for precise changes in compression without changes in output. A compression\/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u\/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, \u0026amp; 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance\/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.\u003c\/p\u003e \u003cp\u003e\u003capi_warranty\u003e\u003c\/api_warranty\u003e\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449360248935,"sku":"14219","price":1019.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_525_5_1.jpg?v=1787088703"},{"product_id":"api-527-demo-deal","title":"API 527 (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eAPI 527\u003c\/span\u003e compressor is a single channel module based on API's 225L discrete channel compressor. The 527 features comprehensive controls including variable attack, release, ratio, and outut gain controls. The unit also includes API's patented 'Thrust' circuit, first offered on the 2500 Stereo Bus Compressor. A 10 segment LED meter is switchable between gain reduction and output level. \u003cp\u003e\"Anyone who has used the 225L compressor found in API consoles has expressed a longing for the same kind of flexibility and control in the 500 Series for some time\" said Larry Droppa, President of API. \"We're delighted to now offer the 527 to complement our vintage 525 compressor, which has been many engineers' favorite compressor over the years.\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449360281703,"sku":"15618","price":849.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_527_3.jpg?v=1787088703"},{"product_id":"api-550a-demo-deal","title":"API 550A (Demo Deal)","description":"Few equalizers enjoy the respect and admiration of the coveted \u003cb\u003eAPI 550A\u003c\/b\u003e. Designed by the now legendary Saul Walker in the late 60's, the discrete 550A was first used as a modular OEM equalizer. As the industry rapidly embraced the sonic quality of the 550A, it quickly found its way into many custom console designs by Frank DeMedio and other leading engineers. Many of these consoles are still in use today. \u003cbr\u003e\u003cbr\u003eForty years later, the 550A remains the standard against which other EQs are measured, and it has played a major role in the recording industry for decades. Still copied but never duplicated, the 550A became API's standard channel module EQ when the company began manufacturing consoles in 1971. With virtually all existing units spoken for, popular demand for this EQ resulted in API finally resuming production in 2004. \u003cbr\u003e\u003cbr\u003eThe 550A provides reciprocal equalization at 15 points in 5 steps of boost to a maximum of 12dB of gain at each point. The fifteen equalization points are divided into three overlapping ranges. The high and low frequency ranges are individually selectable as either peaking or shelving, and a band-pass filter may be inserted independently of all other selected equalization settings. Frequency ranges and boost\/cut are selected by three dual-concentric switches and a push-button \"in\" switch allows the EQ to be silently inserted into the signal path. A small toggle switch is used to engage the band-pass filter.\u003cbr\u003e\u003cbr\u003eThe combination of Walker's incomparable 2520 op-amp, and his \"Proportional Q\" circuitry gives the 550A user an uncomplicated way to generate acoustically superior equalization. \u003cbr\u003e\u003cbr\u003eWith the long-awaited reissue of this unit, an EQ that has had such a part in the history of recording is continuing to make history in today's music. \u003cbr\u003e\u003cbr\u003e \u003capi_warranty\u003e\u003c\/api_warranty\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449360314471,"sku":"13899","price":1069.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_550a_4.jpg?v=1787088703"},{"product_id":"api-550b-demo-deal","title":"API 550B (Demo Deal)","description":"The \u003cb\u003eAPI 550 discrete 4-band EQ\u003c\/b\u003e played a major part in the history of music recording in the USA during the 60's and 70's. Originally conceived for use in API's consoles, this latest 550 \"B\" version is a continuation of the original 1967 550 through the 550A with one additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 op-amp), the 550B artfully blends the past with the present. So many hit records still depend on the unique 550 sound, that the 550B will be an invaluable tool you will turn to again and again. The API 550B—unlike any other you will ever use. \u003cp\u003eMany EQs today offer a huge assortment of complex features, but the API 550B provides exactly the right number of controls to the professional engineer. Deceptively simple at first glance, the 550B's four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device. Each band offers 7 switchable filter frequencies spanning 4 to 5 octaves, selected through experience by a \"who's who\" list of the industry's most proficient engineers. This re-issue design has been taken from the original blueprints and spec control drawings from the API archives.\u003c\/p\u003e \u003cp\u003eMaking use of \"API Proportional-Q\", a design introduced by API in the 60's, the 550B intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings—without the need for additional bandwidth controls. This feature minimizes the \"phase-shift\" sound found in many equalizers. The reciprocal nature of the 550B enables the user to \"undo\" what has been done previously.\u003c\/p\u003e \u003cp\u003eThe benefits of the API 550B are most obvious to those who work with EQ on a continuous basis. The 550B's ability to affect or reverse tonal modifications is perhaps the most important feature. If major tonal restructuring is required, the extraordinary headroom made possible with API's 2520 op-amp offers predictable and gentle \"analog\" performance under duress. With a surprisingly wide range of tonal variations, you can do no better than the API 550B.\u003c\/p\u003e  \u003capi_warranty\u003e\u003c\/api_warranty\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449360347239,"sku":"15735","price":1166.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_550b_cat_1.jpg?v=1787088703"},{"product_id":"api-560-demo-deal","title":"API 560 (Demo Deal)","description":"The \u003cb\u003eAPI 560\u003c\/b\u003e was originally conceived for use in API consoles of the 60's and 70's. The API 560 re-issue is a unique device designed to accomplish tasks that no other EQ can do. It delivers that \"one-of-a-kind\" API sound, precision easy-set filtering and high headroom in a very small package. Extremely fast to set and reset using accurate zero detents, the curve-shaping potential of the 560 is unmatched. At home both in field recording and the studio environment, this \"new-old\" version is a re-issue of the original 560 with improved resolution in the critical area of ±4 dB. Incorporating API's exclusive circuitry and proprietary components (such as the legendary 2520 op-amp), the re-issue of the 560 artfully blends the past with present—layout with function. \u003cp\u003e\u003c\/p\u003e \u003cp\u003eThe API 560 was created to fit all applications for the professional engineer. For most of the 70's and 80's, every remote recording console that API manufactured used this versatile graphic EQ. It is also ideal for studio and live sound applications, where a professional result is required. This re-issue design has been taken from the original blueprints and spec control drawings from the API archives.\u003c\/p\u003e \u003cp\u003eThe large number of available EQ bands makes the 560 an ideal companion to parametric EQ, as well as ideal for signal sweetening and room tuning. Not lacking in features, the 560 makes use of API's unique \"Proportional Q\" design introduced by API in the 60's, intuitively widening the filter bandwidth at lower boost\/cut levels and narrowing it at higher settings. In addition, boost and cut characteristics are identical, so previous actions can be undone.\u003c\/p\u003e \u003cp\u003eThe extraordinary headroom made possible with API's proprietary 2520 op-amp offers predictable and wonderful \"analog\" performance under duress. With a wider range of 500-series mounting options, the 560 will be a valuable asset to your performance-critical applications.\u003c\/p\u003e \u003cp\u003eThe 560 Graphic Equalizer makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.\u003c\/p\u003e  \u003capi_warranty\u003e\u003c\/api_warranty\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449360412775,"sku":"14091","price":879.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_560_3.jpg?v=1787088704"},{"product_id":"avedis-ma5-microphone-pre-demo-deal","title":"Avedis Audio Electronics MA5 Microphone Pre (Demo Deal)","description":"After some requests from audio engineers, the \u003cb\u003eAvedis Audio MA5\u003c\/b\u003e was created for the need of a high quality microphone preamplifier in the characteristic sound of early 70's British consoles. The re-engineering in the creation of the MA5 stemmed from years of experience restoring both American and British modules, deeply rooted in classic transformer-balanced, discrete electronics. Only the best and most suitable components are used throughout, regardless of cost, to attain the best sound. \u003cbr\u003e\u003cbr\u003e Much time was spent on the MA5, not only on the engineering side of the design, but also to extensive sound evaluations in observation of specific settings, gain structures, and key components spanning a time frame of a little over a year. \u003cbr\u003e\u003cbr\u003e We have always believed that even with some of the best audio test analyzers we own and use, our ears' sensitivity, coupled with good judgment of sound through experience, is still unparalleled. In the end, it is our ears we are trying to satisfy. \u003cbr\u003e\u003cbr\u003e","brand":"Avedis Audio Electronics","offers":[{"title":"Default Title","offer_id":44449360904295,"sku":"16587","price":769.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/avedis_ma5_black_knob_2.jpg?v=1787088705"},{"product_id":"bae-1073-mic-pre-eq-19-rackmount-pair-with-psu-demo-deal","title":"BAE 1073 Mic Pre\/EQ 19\" Rackmount Pair - with PSU (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eBAE \u003c\/span\u003e\u003cspan style=\"font-weight: bold;\"\u003e 1073\u003c\/span\u003e preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smoothes the top end, giving the highs a silky sheen. The BAE 1073 slightly compresses transients, as well. It is a smooth, fat, larger than life sound. An added bonus is to use the front-panel DI inputs to fatten samples and synths and instruments. Balanced line-level inputs on the rear allow for fattening and punching up entire mixes, or in a signal chain with other +4 gear.\u003cbr\u003e\u003cbr\u003eThe B.A.E. 1073 equalizer is very broad-banded and musical. It has a hi-pass filter with four frequencies- 50 Hz, 80 Hz, 160 Hz and 300 Hz. The low frequency band is shelving and has four frequencies - 35 Hz, 60 Hz, 110 Hz and 220 Hz. The low end of this equalizer is so tight that you can boost 220 Hz and not muddy up the sound. The mid band has six frequencies - 360 Hz, 720 Hz, 1.6 kHz, 3.2 kHz, 4.8 kHz and 7.2 kHz. The bandwidth is broad so you can boost or cut a lot without making things sound processed or unnatural. The hi band is shelving and is fixed at 12 kHz. It is smooth and silky and a little goes a long way. \u003cbr\u003e \u003cbr\u003e  \u003cfont style=\"font-style: italic;\" size=\"1\"\u003e*NEVE IS EITHER A TRADEMARK OR REGISTERED TRADEMARK OF AMS-NEVE LTD, AND BAE IS NOT AFFILIATED WITH SUCH ENTITY.\u003c\/font\u003e","brand":"BAE","offers":[{"title":"Default Title","offer_id":44449361100903,"sku":"16854","price":5418.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/bae_1073_rackmount_pair_with_psu.jpg?v=1787088706"},{"product_id":"bae-1073-mic-pre-eq-19-rackmount-with-psu-demo-deal","title":"BAE 1073 1U with PSU (Demo Deal)","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eBAE 1073\u003c\/span\u003e preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smooths the top end, giving the highs a silky sheen.  The BAE 1073 slightly compresses transients, as well. It is a smooth, fat, larger than life sound. An added bonus is to use the front-panel DI inputs to fatten samples and synths and instruments.   Balanced line-level inputs on the rear allow for fattening and punching up entire mixes, or in a signal chain with other +4 gear.\u003cbr\u003e\u003cbr\u003eThe B.A.E. 1073 equalizer is very broad-banded and musical. It has a hi-pass filter with four frequencies- 50 Hz, 80 Hz, 160 Hz and 300 Hz.  The low frequency band is shelving and has four frequencies - 35 Hz, 60 Hz, 110 Hz and 220 Hz.  The low end of this equalizer is so tight that you can boost 220 Hz and not muddy up the sound. The mid band has six frequencies - 360 Hz, 720 Hz, 1.6 kHz, 3.2 kHz, 4.8 kHz and 7.2 kHz. The bandwidth is broad so you can boost or cut a lot without making things sound processed or unnatural. The hi band is shelving and is fixed at 12 kHz.  It is smooth and silky and a little goes a long way. \u003cbr\u003e \u003cbr\u003e \r\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: xx-small;\"\u003e*NEVE IS EITHER A TRADEMARK OR REGISTERED TRADEMARK OF AMS-NEVE LTD, AND BAE IS NOT AFFILIATED WITH SUCH ENTITY.\u003c\/span\u003e\u003c\/p\u003e","brand":"BAE","offers":[{"title":"Default Title","offer_id":44449361133671,"sku":"15136","price":2699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/bae-1073_15136_1.jpg?v=1787088707"},{"product_id":"bae-1073mp-dual-channel-mic-pre-with-psu-demo-deal","title":"BAE 1073MP Dual-Channel Mic Pre - with PSU (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eBAE 1073MP\u003c\/strong\u003e is the mic pre only version of the BAE 1073. In conjunction with Avedis Audio, BAE have created the preamp using the same 283 card and same transformers that you will find in the 1073. For todays mic's you should never need more than 70 db's of gain so BAE omitted the third gain stage and created a constant input impedance throughout the switch.\u003cbr\u003e\u003cbr\u003eThe 1073MP comes at last in a totally enclosed chassis, the extra real estate giving room to add a few new features.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003ePhase reverse button\u003c\/li\u003e\r\n\u003cli\u003eImpedance select between 1200 and 300 ohms\u003c\/li\u003e\r\n\u003cli\u003eDirect input switch\u003c\/li\u003e\r\n\u003cli\u003eBalanced line input\u003c\/li\u003e\r\n\u003cli\u003e48v phantom power\u003c\/li\u003e\r\n\u003cli\u003eSame 283 amp card as the 1073\u003c\/li\u003e\r\n\u003cli\u003eSame transformers as the 1073\u003c\/li\u003e\r\n\u003cli\u003eSame hand-wired modular construction that BAE is known for\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"BAE","offers":[{"title":"Default Title","offer_id":44449361166439,"sku":"15557","price":2169.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/bae_1073mp_dual_rackmount_with_psu_1.jpg?v=1787088707"},{"product_id":"bae-312a-module-demo-deal","title":"BAE 312A Module (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eBAE \u003c\/span\u003e\u003cb\u003e 312A \u003c\/b\u003e\"500 Series\" mic preamps, made using the new Avedis 1122™ opamps, are punchy, have great bass and have a clear, extended top end. The sound is in your face and they don't compress transients. The low end is tight with good attack. They are excellent for drums and percussion. These pres are very cost effective. Many people buy racks of 6 or 11 to cover the entire drum kit. \u003cbr\u003e\u003cbr\u003e","brand":"BAE","offers":[{"title":"Default Title","offer_id":44449361199207,"sku":"13971","price":721.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/bae_312a_1.jpg?v=1787088707"},{"product_id":"burl-audio-b1-mic-pre-demo-deal","title":"Burl Audio B1 Mic Pre (Demo Deal)","description":"\u003cp\u003eBased on the API 500 Series form factor, the \u003cstrong\u003eBurl Audio B1\u003c\/strong\u003e was designed to compliment the B2 Bomber ADC, and give you multi-channel pleasure. With the proprietary BX3 input transformer and BX2 output transformer, the B1 Mic Pre delivers warmth with depth and clarity. An all discrete transistor, Class A, direct coupled, capacitor free circuit path, gives the B1amazing punch on drums, beautiful tonality on guitars, and warmth with presence on vocals. \u003cbr\u003e\u003cbr\u003e The B1 comes complete with both Gain and Level controls. If you want that heavy, gainy tone, crank up the stepped gain control and offset that with the level control. If clean tone is your thing, turn the gain down and crank up the level. For ribbon mics and other low impedance sources, the B1 has a transformer coupled impedance select. The B1 gets the best out of any microphone, whether it be dynamic, condenser or ribbon. \u003cbr\u003e\u003cbr\u003e Use the B1’s 1\/4” instrument\/line input on the front panel, plug in, crank up the gain and go. The PAD switch allows for hot signals and balanced line inputs through the mic XLR on the back panel. Run your tracks or mixes through the B1 for warmth and glue. The B1 was designed to rock. Run multiple B1 channels for your rhythm tracks and you are there.  Replace EQ and compression with true analog PHAT. Run your primary tracks through the B1 mic pre, follow with a B2 Bomber ADC and that's about all you will need.\u003c\/p\u003e","brand":"Burl Audio","offers":[{"title":"Default Title","offer_id":44449361592423,"sku":"13911","price":849.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/burl_b1_front_1.jpg?v=1787088708"},{"product_id":"buzz-audio-essence-demo-deal","title":"Buzz Audio Essence (Demo Deal)","description":"The essence control circuit design is based on the Buzz Audio SOC-1.1 Stereo Optical Compressor but the main audio path utilizes our BE40 and BE50 True Class A amplifiers along with high spec Lundahl input and output transformers. The input transformer is directly coupled to the Buzz proprietary Opto gain reduction element (completely passive input), amplified and then balanced via the output transformer - a very simple but gutsy signal path! \u003cbr\u003e\u003cbr\u003eThe essence control circuitry utilizes the Differential Drive Side Chain (DDSC) topology that was developed for the SOC-1.1. This system, which processes positive and negative audio waveform in separate paths, provides the incredibly musical characteristic you will hear with this unit. The DDSC design also provides for a much faster attack time compared to most other LDR based optical compressors. \u003cbr\u003e\u003cbr\u003eSimple side chain equalizers have been provided to allow the user to adjust the sensitivity of the compressor at high and low frequencies. In addition, a side chain insert point is provided for more complex EQ and compressor \"keying\". \u003cbr\u003e\u003cbr\u003eThe essence consumes 2 slots within a 500 Series rack. The input\/output (I\/O) connectors associated with the first slot carry the main audio path. The I\/O connectors associated with the second slot are used for a side chain insert point (send and return). The insert can be switched in\/out of circuit and monitored via front panel switches. \u003cbr\u003e\u003cbr\u003e\u003cb\u003ePLEASE NOTE - RACK COMPATIBILITY\u003c\/b\u003e Each \u003cb\u003eBuzz Audio Essence\u003c\/b\u003e module uses 2 rack spaces and draws 120mA +\/- 15-18 volts DC, as supplied by rack power supply. Most currently manufactured rack systems will easily power a full compliment of essence units, but some older rack systems may have insufficient power, if in doubt, please check with your rack manufacturer. We recommend the API Lunchbox and VPR500 racks. \u003cbr\u003e\u003cbr\u003e  \u003cb\u003eNOTE: Due to some misinformation during the design of the potion and essence 500 series compressors, the card edge connection for the linking of our 500 Series compressors is incorrect.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e The potion and essence have PIN 11 designated as the link connection, when in actual fact the API* standard is PIN 6. This error can be easily remedied with a simple wire link soldered between PIN 6 and PIN 11 of the potion and\/or essence edge connector.","brand":"Buzz Audio","offers":[{"title":"Default Title","offer_id":44449361723495,"sku":"13912","price":919.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/buzz_audio_essence_1_1.jpg?v=1787088709"},{"product_id":"chandler-germanium-compressor-demo-deal","title":"Chandler Limited Germanium Compressor (Demo Deal)","description":"The Germanium series continues with the \u003cb\u003eChandler Germanium Compressor\u003c\/b\u003e. The GERM Comp starts with the same all class A amp found in the GERM Pre and Tone Control and is transformer balanced in and out. The Compression circuit uses a FET gain reduction element but with the tricks and flexibility of all the GERM units. Some of the most notable additions include a wet\/dry mix, for “submixing” tracks within the comp, Comp Curve, which selects the knee using various diode combinations, clean\/dirty comp, side-chain filter. Many of the GERM Comp parameters have been purposely set by studio use and listening not by over analyzing them with test gear. The result is a musical powerhouse ready for tracking, mixing, and mastering.","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449361789031,"sku":"13915","price":1429.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_germanium_compressor_1_1.jpg?v=1787088709"},{"product_id":"chandler-limited-little-devil-compressor-demo-deal","title":"Chandler Limited Little Devil Compressor (Demo Deal)","description":"Following in the rich tradition of English 60s and 70s console design, Chandler Limited enters the 500 race furiously with its new \u003cb\u003eLittle Devil Equalizers and Compressors\u003c\/b\u003e. \u003cbr\u003e\u003cbr\u003e With all discrete circuits, transformer balanced everything, and the American hand made quality you expect from Chandler the Devils combine Chandler’s best designs with the hottest designs from the past. \u003cbr\u003e\u003cbr\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449361887335,"sku":"13973","price":969.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_little_devil_compressor_1_1.jpg?v=1787088710"},{"product_id":"chandler-germanium-mic-pre-demo-deal","title":"Chandler Limited Germanium Mic Pre (Demo Deal)","description":"The \u003cb\u003eChandler Germanium Preamp \u003c\/b\u003e features a completely new design by Chandler Limited designer Wade Goeke that uses classic germanium transistors in all class A, transformer balanced, circuits. The use of germanium devices opens a whole new sound palate not found in any pro audio equipment currently manufactured. \u003cp\u003eThese incredibly smooth sounding transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI ( TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium transistor. The GERMANIUM series runs on +40 volt power, high current, and has a huge +34 output before clipping. The sound is warm and smooth as with many vintage style circuits, but you'll find a whole new world of smooth here as well as a sound that settles in perfectly to your tracks without fighting. Add these new circuits to Chandler's new transformer line that combines the best parts of our favorite trannies, St Ives and Gardners, into new great sounding input and output transformers.\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449361821799,"sku":"16803","price":1019.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_germanium_preamp_1_1.jpg?v=1787088709"},{"product_id":"chandler-tg-channel-mkii-demo-deal","title":"Chandler Limited TG Channel MKII (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eChandler Limited TG Channel MKII\u003c\/span\u003e is a recreation of several classic EMI circuits. It combines a TG2 pre amp section with an equilizer that was adapted from a circuit in the TG12410 Transfer console. This console was the mastering counterpart to the original \"Beatles desks\" installed at Abbey Road. \u003cp\u003e The active portions of the unit use the same discrete amplifiers and transformers as in the TG1 Limiter and TG2 pre amp. The passive equalizer portion of the EQ is an all inductor design and offers sweet high frequencies with large inductor based lows, and a very high\"Q\" mid cut section. Although not designed as such, due to its passive inductor design the unit will inevitably draw comparisons to the Pultec EQP-1a3, a VERY simple description would be to call it an EMI Pultec with an EMI pre amp thrown in... \u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eInput -\u003c\/span\u003e Combines 600ohm mic input and a 10k line input which is selectable with the line switch. The fifteen position switch attenuates mic and line and gives a large range of control for normal and not so normal uses.mic gain -15db to +55dbline gain -25db to +45db \u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eOutput -\u003c\/span\u003e Functioning as a console fader, this control is placed after the input stage and before the out put stage.This allows for trimming of ther input signal, as well as allowing the user to run the input very hot (for extra coloration)without distorting the recorder. \u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eHigh EQ\u003c\/span\u003e - A high boost control with 18dbof gain and a select switch that combine's shelf and peak settings. Peak characteristic is resistor capacitor based and the peak types are inductor style.16k, 12k, 8.1k, 6.8k shelf.5.8 k, 3.9k, 2.2k, 1.8k, 1.2k peak.Mid EQ- A mid frequency EQ with 20db of cut with six points set at very sharp \"Q\". Specially designed to fix problem areas. All inductor based.300, 400, 800, 1.7k, 3.3k, 6.8k \u003c\/p\u003e\u003cp\u003eLow EQ- A low boost control with20db of gain and a select switch that combines shelf and peak settings. Both peak and shelf characteristics are inductor based. Also, On the peak settings\"Q\" gets sharper with more boost.30, 65, 165 shelf.50, 70, 100, 200 peak. \u003c\/p\u003e\u003cp\u003eLow cut at 50hz.Hi \"Q\" for mid peak frequencies. 48 volt phase reverse. \u003c\/p\u003e\u003cp\u003e\u003cb\u003eChandler PSU-1 is needed to power unit. \u003c\/b\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eChandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI\/Abbey Road Studios.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAbbey Road Studios, EMI, TG and their associated logos are trademarks of EMI (IP) Limited.\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449362018407,"sku":"15307","price":2499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_tgchannelmk2_1_1.jpg?v=1787088710"},{"product_id":"daking-mic-pre-one-demo-deal","title":"Daking Mic Pre One (Demo Deal)","description":"Sharing the gain structure and Class A, fully discrete transistor circuitry design of the popular Daking Mic Pre IV, the \u003cb\u003eMic Pre One\u003c\/b\u003e additionally features a unique variable high-pass filter and ships in a freestanding 'DI-style' steel enclosure, ensuring both strength and noise immunity. \u003cbr\u003e\u003cbr\u003eEssentially a single channel of the Mic Pre IV, the Mic Pre One features switchable phase, 20dB mic input pad and +48V phantom power, plus a selectable 1\/4-inch line\/hi-z instrument input, all utilizing relays with gold bi-furcated contacts. Two large knurled aluminum knobs control the variable high-pass filter (0-200Hz) and continuously variable input gain, which is complemented by a full-width, twenty-segment bi-color LED meter. The rear of the unit offers a Jensen transformer-isolated mic input and fully-balanced XLR output, plus a 1\/4-inch line output. A fourth connector introduces DC power from the external power supply to the unit. \u003cbr\u003e\u003cbr\u003eNoted Brad Lunde, president of TransAudio Group, \"This Mic Pre One is the very definition of value - a Daking-designed high-end mic pre for those who only need one channel. It's ideal for pros on tour and studios that seek to locate the mic pre in the vocal booth for short cable runs. Small project studios on a limited budget, can now use the same high-end sounding gear as the pros.\"","brand":"Daking","offers":[{"title":"Default Title","offer_id":44449362182247,"sku":"14125","price":719.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/daking_micpre_one_1.jpg?v=1787088711"},{"product_id":"dangerous-music-bax-eq-demo-deal","title":"Dangerous Music BAX EQ (Demo Deal)","description":"Built in response to demand from a professional studio community searching for unique sonic signatures, the Dangerous design team took inspiration from the classic Baxandall shelving curves of the 60’s and 70’s and created a unique equalizer with a 21st century mastering aesthetic. The result is pure emotive expression with audiophile accuracy.\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eStepped controls throughout for repeatability and identical stereo operation\u003c\/li\u003e\n\u003cli\u003eBroad Q Shelving\u003c\/li\u003e\n\u003cli\u003e7-position High Pass and Low\u003c\/li\u003e\n\u003cli\u003ePass Filters--2-pole Butterworth configuration (12 dB\/oct)\u003c\/li\u003e\n\u003cli\u003e8-position High and Low Frequency Select\u003c\/li\u003e\n\u003cli\u003e+\/- 5dB Cut and Boost controls in 1\/2 dB steps\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e “Unlike anything you have heard, but exactly like what you’ve been looking for.”\u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003e-Phil Demetro, Lacquer Channel Mastering\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e “I want this box for the 60 Hz band alone. While testdriving the prototype I got addicted to it--the BAX gave me a foot like no other EQ I have does. It’s no surprise that the first piece of signal processing from Dangerous is something that currently does not exist and something I need to have.”\u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003e-David Kutch, The Mastering Palace\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e “The BAX EQ is my new favorite box to put across my whole mix. It lets me achieve that modern pop brightness without any of the usual sibilance or harshness. The super low-end is fat without being muddy and it’s incredibly smooth and balanced. I have never heard any EQ like this one before.”\u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003e-Fab, FLUX Studios, NYC\u003c\/span\u003e","brand":"Dangerous Music","offers":[{"title":"Default Title","offer_id":44449362247783,"sku":"15414","price":2799.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dangerous-bax-eq_13198_1_1.jpg?v=1787088711"},{"product_id":"electrodyne-501-preamp-demo-deal","title":"Electrodyne 501 Preamp (Demo Deal)","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eElectrodyne 501\u003c\/span\u003e is a two-stage, discrete transistor, transformer-coupled preamp with active DI based primarily on the modules found in the classic 1608 console.  Each amp stage is individually optimized for peak performance using detailed Electrodyne factory engineering notes and select high performance components identical to the originals. In fact, the 501’s transformers are made by Electrodyne’s original supplier to exacting factory specifications.\u003cbr\u003e \u003cbr\u003e The new preamp’s active DI circuit presents an almost immeasurable load (over six megohms) to sensitive musical instrument outputs allowing incredibly accurate capture of the instrument’s true tone.  Furthermore, the output of the DI circuit is designed to directly connect and interact with the mic input transformer to permit an extremely broad spectrum of tonal options. \u003cbr\u003e \u003cbr\u003e The faceplate of the Electrodyne 501 features a large rotary gain control offering up to 68dB of gain – adjustable over 50dB in 2dB steps with two ranges via a 20dB pad switch – and a smaller output level pot infinitely adjustable from 0 (off) to +6dB over unity.  Additional switches for impedance selection (50 or 200 ohms), phase reverse, +48V phantom power and DI (with 1\/4\" input jack) are also present, as well as a clip LED that monitors all three amp stages and illuminates when any stage is 3dB from clipping.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eSpecifications:\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eMaximum Gain:\u003c\/strong\u003e 68db – adjustable over 50db in 2db steps with two ranges using 20db pad \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eOutput level control:\u003c\/strong\u003e Infinitely adjustable from 0 (off) to +6db over unity \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eInput impedance:\u003c\/strong\u003e Microphone, 50 \/ 200 ohms selectable. DI, over 7 megohms \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eOutput impedance:\u003c\/strong\u003e 150 ohms \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eDistortion:\u003c\/strong\u003e 0.02% typical over entire gain range \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eMaximum output:\u003c\/strong\u003e +30db at less than 0.8%thd. (+29.5db at 0.06%thd) \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eFrequency response:\u003c\/strong\u003e +\/- 0.25db, 10hz to 60khz \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eSignal to noise: \u003c\/strong\u003e-80db typ, -60db at absolute maximum gain \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eClip indicator: \u003c\/strong\u003eMonitors all three amp stages and illuminates when any stage is 3db from clip \u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Electrodyne","offers":[{"title":"Default Title","offer_id":44449362477159,"sku":"14474","price":779.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/electrodyne_501_1.jpg?v=1787088712"},{"product_id":"electrodyne-511-equalizer-demo-deal","title":"Electrodyne 511 Equalizer (Demo Deal)","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eElectrodyne 511\u003c\/span\u003e is a classic two-band, discrete transistor, reciprocal, active inductor-based equalizer using late-’60s\/early-’70s design technology. As with the 501, the 511’s custom inductors and output transformer are made by Electrodyne’s original provider to strict factory tolerances as small as two percent. This affords a consistent EQ performance and repeatability from channel to channel that was simply not possible in the 1960s. Smooth performance and EQ response from minimum to maximum gain at all frequencies provides unusually broad sonic and tonal options not experienced since the 1970s. \u003cbr\u003e \u003cbr\u003e The module’s faceplate sports twin large rotary EQ controls each offering ±12dB of boost and cut with four selectable frequencies per band (LF: 40, 100, 250 and 500Hz \/ HF: 1.5, 3, 5 and 10kHz). Shelving is available on all frequencies, with peaking offered at 250 and 500Hz in the LF band and 1.5, 3 and 5kHz in the HF band. An EQ in\/out switch with accompanying LED rounds out the front panel feature set.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eSpecifications\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eInput: Active balanced discrete transistor impedance converter. \u003c\/li\u003e\r\n\u003cli\u003eOutput impedance: 150 ohms \u003c\/li\u003e\r\n\u003cli\u003e+\/-12 db gain range: Equalize or Attenuate \u003c\/li\u003e\r\n\u003cli\u003e4 frequencies selectable per band. LF: 40, 100, 250, 500hz. HF: 1.5k, 3k, 5k, 10k. \u003c\/li\u003e\r\n\u003cli\u003ePeak\/Shelf function on each band. Shelving at all frequencies, Peaking at 250, 500, 1.5k, 3k and 5k. \u003c\/li\u003e\r\n\u003cli\u003eDistortion: 0.03%typical. \u003c\/li\u003e\r\n\u003cli\u003eMaximum output: +30db at less than 0.8%thd. (+29.5db at 0.06%thd) \u003c\/li\u003e\r\n\u003cli\u003eFrequency response: +\/- 0.25db, 10hz to 70khz typical. \u003c\/li\u003e\r\n\u003cli\u003eSignal to noise: -85db typ.\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Electrodyne","offers":[{"title":"Default Title","offer_id":44449362509927,"sku":"15047","price":929.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/electrodyne_511_1.jpg?v=1787088712"},{"product_id":"elysia-mpressor-demo-deal","title":"Elysia Mpressor (Demo Deal)","description":"The \u003cb\u003eelysia mpressor \u003c\/b\u003eis a new tool for creative dynamics processing. On top of the tried and tested standard features, this creative compressor provides several special functions that produce fat and freaky sounds by employing a punchy control behavior, colorations full of character and extreme settings. Besides classic tracking applications, its favorite domains are groovy effect compression and creative sound design. \u003cbr\u003e\u003cbr\u003e Each of both linkable channels offers a switchable Auto Fast function that allows very fast yet distortion-free compression without any artifacts. The Anti Log circuit generates explicit compression effects such as pumping and breathing. As the mpressor is a true feed forward design, it also allows negative ratios which result in the most ex-treme over-compression effects. The Niveau Filters can change the character of a track from subtle to striking with the possibility of a continuous frequency shift. The Gain Reduction Limiter is a novel feature that lets the user choose the maximum amount of Gain Reduction he wants to draw from the unit, and this at the twist of a knob. The switchable external sidechain inputs make for further flexibility in terms of compression behavior. \u003cbr\u003e\u003cbr\u003e The circuit design of the mpressor is completely based on discrete analog technology. The entire signal processing is implemented with single transistors in permanent class-A mode, and even the sidechain and power supply are composed of fully discrete circuits. An oversized power transformer, capsuled conductive plastic potentiometers, internal temper-ature stabilizers for critical components as well as special current feedback amplifiers are part of the technical finesse. The combination of these elements aims at the maximum reachable signal quality and guarantees clean and powerful sound characteristics even when extreme settings are used. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eThe creative compressor\u003c\/b\u003e\u003cbr\u003e Compressors are absolute standard tools in daily studio work, but depending on the specific task they need to be used in lots of different ways. The range goes from mild changes of level during mastering to limiting the dynamic range in recordings to extreme compression to shape sounds envelopes. \u003cbr\u003e\u003cbr\u003e Hence the various topologies and large range of compressors in the market today. The mpressor is a typical recording and mixing compressor that can handle a wide array of jobs because of its premium audio quality and precise control characteristics. On top of that, it offers a number of special functions that enable the user to create completely new and very spacy sounds. \u003cbr\u003e\u003cbr\u003e This makes the mpressor a truly creative compressor that especially convinces with its elaborate and practical innovations. Reducing options to the essential makes it possible to achieve outstanding results for any audio material at first go. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eControl characteristics\u003c\/b\u003e\u003cbr\u003e The control characteristics of the mpressor offer a great spectrum of settings without generating any unwanted artifacts or noises. Even very fast attack and release settings can be used without any problems. Already known from the alpha compressor, the Auto Fast feature is a guarantee for very fast but undistorted gain reduction processes: If this function is activated, the attack time will automatically become shorter on input signals with fastly rising levels and intense changes of dynamics. \u003cbr\u003e\u003cbr\u003e The novel Anti Log function generates an anti-logarithmic progress of the release curve. The release time will at first become slower when there is an ample increase of compression. As soon as the input signal returns to a noticeably lower amount, the release time will be shortened automatically. Depending on the other settings, compression will become much more audible than before as a result. This feature can be used to achieve BPM-dependent dynamic effects, manipulate the ambience parts of a reverb effect return, or process single sources such as vocals or bass. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eGain Reduction Limiter\u003c\/b\u003e\u003cbr\u003e Another specialty of the mpressor is its limiter for the control voltage. With it, one can set the maximum amount of gain reduction that will not be exceeded as long as the function is active. Normally the threshold and ratio parameters determine the amount of gain reduction which is adapted to the input signal in order to reduce the loudest parts as desired. \u003cbr\u003e\u003cbr\u003e If the limiter is set to a maximum reduction value, threshold and ratio can have completely different settings without changing the maximum gain reduction. In this manner, very special variations of control characteristics can be achieved, e.g. applying a strong amount of compression while preserving the dynamics of loud passages at the same time. \u003cbr\u003e\u003cbr\u003e Combining the Gain Reduction Limiter with the external sidechain transforms the mpressor into a true ducker. In this application, the music will automatically be turned down when a voice sets in (or just the other way round). Another option is to apply upward compression that only raises the volume of the quieter parts without changing the actual dynamics at all. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eExternal sidechain\u003c\/b\u003e\u003cbr\u003e The mpressor provides a switchable external sidechain input per channel. Once it is activated, the compressor reacts to the fed in signals and opens up an enormous variety of additional potentials. A typical application is frequency-dependent compression, where an additional equalizer is used to give certain frequencies a stronger or weaker influence on the overall compression. \u003cbr\u003e\u003cbr\u003e True ducking effects are also possible as well as very cool groovy sounds, e.g. controlling a stable synth pad with a drum beat fed into the sidechain. The combination of the Anti Log and Gain Reduction Limiter functions result in very unusual effects that sound like an inverted gate: the loud signals are reduced intensely while the quieter parts come in front more obviously. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eNiveau Filter\u003c\/b\u003e\u003cbr\u003e In order to add flexible sonic stamps to compressed signal, there is a Niveau Filter placed after the compressor section which has been designed in the style of the audio EQ of the alpha compressor. \u003cbr\u003e\u003cbr\u003e It also boosts the high frequencies beyond a selectable center frequency and cuts the low frequencies at the same time (or, depending on the individual setting, just the other way round). But according to the intended use of the mpressor, we have made the possible settings more extreme for more striking and dramatic effects. Only two controllers produce a great variety of different sounds. \u003cbr\u003e\u003cbr\u003e These kinds of settings could not be generated by using standard parametric equalizers. The combination of this filter and the special control characteristics enable the mpressor to give a totally new character to the original signal which can vitally enhance a whole production. \u003cbr\u003e\u003cbr\u003e \u003cb\u003e100% discrete\u003c\/b\u003e\u003cbr\u003e Here is an old elysia saying: If you want to make it right, make it discrete! Of course this is also true of the mpressor, as the combination of very extreme control characteristics and an absolutely convincing quality of sound can only be achieved by using discrete circuitry. Therefore all signal stages were designed to use single transistors, resistors and capacitors, so each of the stages could be perfectly matched to its specific task as an important side effect. \u003cbr\u003e\u003cbr\u003e Many parts of the circuitry do without negative feedback, and the complete unit works in constant class-A mode in order to ensure the best audio quality in any situation. Even the sidechain and the power supply are built with the exclusive use of single transistors, resulting in considerably lower noise compared to conventional ICs. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eA look inside\u003c\/b\u003e\u003cbr\u003e The choice of components for the mpressor did not leave the slightest room for compromise – a great part of components which are used in the alpha compressor can also be found in the mpressor. All controllers use high-grade conductive plastic potentiometers. All switching functions are coupled via capsuled relays which are placed at the ideal places in the circuitry in order to keep the signal path reduced to the max. \u003cbr\u003e\u003cbr\u003e A special input stage was trimmed to show a similar behavior to that of an input transformer. Furthermore, this stage distinguishes itself by a very good common mode rejection and an extra low capacity, preventing unwanted changes of the input signal effectively. A high-grade class-A output stage delivers adequate current to drive even long cable lines smoothly. \u003cbr\u003e\u003cbr\u003e The power supply also benefits from the discrete design, as the voltage regulators produce such a low amount of noise that it can hardly be measured at all. A generously dimensioned toroidal power transformer provides enough current to charge the great number of quality electrolytic capacitors very quickly. \u003cbr\u003e\u003cbr\u003e Certain critical components of the discrete circuitry are surrounded by special heating elements made of copper. This keeps important parameters constant and makes them independent from changes in temperature and operating time.","brand":"Elysia","offers":[{"title":"Default Title","offer_id":44449362542695,"sku":"14092","price":3649.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/elysia_mpressor_1_1.jpg?v=1787088712"},{"product_id":"empirical-labs-distressor-el8x-demo-deal","title":"Empirical Labs Distressor EL8X (Demo Deal)","description":"\u003cb\u003eClassic Knee Sound\u003c\/b\u003e\u003cbr\u003eHelpful in the pristine but unforgiving digital world. Three audio modes provide user programmable, warm harmonic distortion. Emphasized tube-like 2nd harmonic in clean and Distort 2 mode. In Distort 3 mode the distortion becomes dominated by 3rd harmonic (similar to tape).\u003cbr\u003e\u003cbr\u003e The \u003cb\u003eEmpirical Labs Distressor\u003c\/b\u003e is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and \"musical\" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a \"limiter\" or \"compressor\" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production. \u003cbr\u003e\u003cbr\u003e Unlike most analog compressor\/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products. \u003cbr\u003e\u003cbr\u003e Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This \"warmth\" or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften \"harsh\" sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and \"musical\".The current digital technology is often referred to as \"cold\" and \"brittle\" among other terms, although we prefer the term \"unforgiving\" to describe the negative side of the \"linearity\". The Distressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors \u0026amp; limiters) and deliver a classic \"knee\" sound all its own.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eSpecifications:\u003c\/b\u003e\u003cul\u003e \u003cli\u003eFreq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3). \u003c\/li\u003e\n\u003cli\u003eDynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode. \u003c\/li\u003e\n\u003cli\u003eDistortion ranges between .02% and 20% depending on distortion mode and release times set on front panel. \u003c\/li\u003e\n\u003cli\u003eDC coupled output - High quality input caps. \u003c\/li\u003e\n\u003cli\u003eInput impedance is 20K Ohms, Output impedance is \u0026lt; 75 ohms \u003c\/li\u003e\n\u003cli\u003eTime constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. \u003c\/li\u003e\n\u003cli\u003eTime constants are dependant on ratio. \u003c\/li\u003e\n\u003cli\u003eMetal Chassis - single height 1.75\" high, 10\" deep, 19\" wide.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":44449362575463,"sku":"14840","price":1599.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/empirical_labs_distressor_el8x_pair_zoom_2.jpg?v=1787088713"},{"product_id":"gml-8200-demo-deal","title":"GML 8200 (Demo Deal)","description":"\u003cp\u003eBrought to you from the man who invented the term “Parametric Equalization”, the \u003cspan style=\"font-weight: bold;\"\u003eGML 8200\u003c\/span\u003e has been an industry standard for over twenty years, and can be found on virtually every major recording studio’s stereo bus. Each of the five broadly-overlapping bands offers 15dB of Boost or Cut and adjustable bandwidth (or “Q”) from 0.4 to 4. The lowest and highest bands also can be switched to Shelf mode. Quite simply, the 8200 is the archetype Stereo Parametric Equalizer. Its extraordinary resolution, benchmark transparency, generous headroom, and surgical precision have been the reference for many other equalizers, but exceeded by no other. The 2U 8200 includes 8355 external power supply.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan style=\"font-style: italic;\"\u003eNo export\u003c\/span\u003e\u003c\/p\u003e","brand":"GML","offers":[{"title":"Default Title","offer_id":44449362968679,"sku":"13929","price":7429.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/gml_8200_1_1.jpg?v=1787088714"},{"product_id":"great-river-mp-500nv-demo-deal","title":"Great River MP-500NV (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eGreat River MP-500NV\u003c\/span\u003e preamp module for the '500' series rack is now available! The MP-500NV is a professional quality microphone preamplifier designed to re-create the vintage sound characteristics of the early 1970s large consoles. Modern components give the MP-500NV more clarity, punch and performance under normal use. In addition, features like metering before and after the major gain stages let the user drive it hard to greatly expand the range of sonic options. All microphones will benefit from the power of the MP-500NV preamplifier, including dynamic, condenser and especially ribbon types. The MP-500NV uses the same audio and metering circuit board found in the NV series preamplifiers. This unit is designed to fit into a \"500 Series\" rack using 2 available slots. It receives its power supply from the host rack. The unit is equipped with a HI-Z instrument jack that has its own input amplifier and was designed for DI applications. All specifications and performance details are identical to the NV series preamplifiers with the exception of size, weight, patch jack, -10dBv Out. 125ma current draw.","brand":"Great River Electronics","offers":[{"title":"Default Title","offer_id":44449363099751,"sku":"13932","price":695.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/great_river_mp500nv_1.jpg?v=1787088715"},{"product_id":"kush-audio-ubk-fatso-demo-deal","title":"UBK Fatso (Demo Deal)","description":"\u003cspan style=\"font-weight: bold;\"\u003eThe UBK Fatso\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\" I had three goals in mind when I set about to modify what was already one of my favorite pieces in rack number one, Dave Derr's brilliant Fatso Jr.\" - UBK\u003cbr\u003e\u003cbr\u003e 1. I wanted to create a collection of fixed-setting compressors that, with the turn of a single knob, could shape and tame any sound you throw at it, and be especially adept with those that are the easiest to screw up: vocals, drums, bass, acoustic and electric guitars, and pianos.\u003cbr\u003e\u003cbr\u003e2. I wanted these preset comps to offer up several distinctly different ‘flavors’ of compression, each of which has a ‘grab’ and ‘motion’ that is totally unlike the others, in order to give the modern engineer maximum flexibility in terms of style, attitude, punch, and squeeze.\u003cbr\u003e\u003cbr\u003e3. I wanted to make these compressors incredibly smooth and easygoing at moderate settings, but able to go to extremes (and beyond) to create sounds that are surprising, inspiring, and drenched in vibe. No matter how much you dig in, the results should be musical; it might be too much compression for you, but it will never be *bad* compression.\u003cbr\u003e\u003cbr\u003e“How do I do this?” Once upon a time, compressors came with two knobs, and your compression options were ‘more’ and ‘less’. But make no mistake: this minimalism in design was actually an asset to the guy who had to turn the knobs and push the faders. The engineers who designed these simple boxes paid painstaking attention to every crucial aspect of envelope shaping --- the knee, the ratio, the attack and the release --- and they tweaked and tweezed the mysterious and often chaotic interplay of these parameters until they found their holy grail: a circuit whose action was incredibly musical and whose grab sounded amazing on every source and sound you feed it.\u003cbr\u003e\u003cbr\u003e“Compression was easy, and it always sounded good.” So it is with the UBK Fatso. In addition to all the tone-sweetening characteristics and features of the classic Fatso --- harmonic thickening, tape-like saturation, independent ‘warmth’ control to soften and tame high frequency harshness --- the UBK Fatso features 3 brand new presets, lovingly crafted by yours truly, tweaked exclusively by ear, and exhaustively tested in the trenches on every sound you’re ever likely to find in your mixes, and a few you probably never will… just in case.\u003cbr\u003e\u003cbr\u003eSplat - this is my take on the comps built into my favorite 3-lettered vintage console. At modest settings, it stiffens and reigns in drums, focuses a vocal, and enhances the vibe of the original sound while making it easier to manage. But when you dig in, wonderful things begin to happen. Drums develop thwack and hit you in the chest. Vocals get utterly creamy with a pleasing, old school hair. Loops come alive and breathe organically. Electric guitars get thicker, deeper, and stay pinned where you want them. But don’t be afraid of those meters: push it farther, past that red light. 20db of reduction? Don’t worry, keep going. Ever heard your drum buss do that? Didn't think so.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eWelcome to 'no rules' compression.\u003c\/span\u003e\u003cbr\u003eSmooth - this is classic limiting, with a twist. My intent here was to craft a tracking style limiter that would allow the engineer to shave 6-10db off the peaks of instruments without sounding like much of anything happened, yet things are somehow sweeter, they behave better. When you print elements thru this preset, you’ll find your mixes come together easier and faster, with less eq and compression. Things just ‘fit’, the way they did when we tracked to tape.\u003cbr\u003e\u003cbr\u003eBut again, what happens if you start to abuse this preset in the mix? ‘Fast and smooth’ begets and ‘fast and aggressive’, that’s what. Slap it on electronic drum loops and watch the Germans seethe with envy. Put it on a room mic in parallel, maybe a little Abbey Road really is what that kit needs. Crazy hip hop vocal refusing to behave? Clamp it down, ruthlessly, effortlessly.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eOne compressor does it all.\u003c\/span\u003e\u003cbr\u003eGlue - the bottom end never sounded like this. It is simply unreal how easily this preset will lock the bass in place, punch it up, let all the notes ring clear as a bell, and make it loud while getting it out of the way. Engage the transformer to make the low end sing, even on iPod docks. If gluing the bass were the only thing the UBK Fatso did, it would still be worth the price. But Glue is every bit as versatile and surprising as the rest of this box, especially when pushed. It’s an extraordinary drum compressor, imparting a distinct smack even as it makes the room explode. It’s lovely on acoustic guitars, Rhodes, sitar… whatever.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eWhen all else fails, glue the sucker down.\u003c\/span\u003e\u003cbr\u003eIn addition to all of these purposeful compressors, the UBK Fatso features Dave Derr’s classic“Spank” for that inimitable SSL-style smack. You can also combine any two presets, or all three, for even more unusual and unexpected results. So grab those knobs, experiment fearlessly, and ignore those meters: your ears will tell you all you need to know.","brand":"Kush Audio","offers":[{"title":"Default Title","offer_id":44449363689575,"sku":"14415","price":2305.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/kush_audio_ubk_fatso_1.jpg?v=1787088717"},{"product_id":"manley-stereo-variable-mu-limiter-compressor-demo-deal","title":"Manley Stereo Variable Mu Limiter\/Compressor (Demo Deal)","description":"The \u003cspan style=\"font-weight: bold;\"\u003eManley Variable MU Limiter\/Compressor\u003c\/span\u003e has been Manley's best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. \"Mu\" is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the \"remote cut-off\" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that. \u003cbr\u003e\u003cbr\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eCompress mode\u003c\/span\u003e is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here!\u003cbr\u003e\u003cbr\u003eYou might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that’s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449364377703,"sku":"16852","price":3899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley_stereo_variable_mu_1_3.jpg?v=1787088720"},{"product_id":"neve-1073-ch-demo-deal","title":"Neve 1073 CH (Demo Deal)","description":"Launched in 1970, the \u003cb\u003eNeve 1073\u003c\/b\u003e is the first choice of leading producers and artists, delivering the unique Neve sound on some of the most famous recordings of the past 30 years. The big, punchy sound of the 1073 compliments any musical genre - from rock to pop, hip-hop to rap, thrash to classical. \u003cbr\u003e\u003cbr\u003eHandcrafted and completely hand-wired by Neve’s dedicated professionals in Burnley, England, the modern-day 1073 is produced to the exact specifications of the original modules. Considerable resources have been devoted to the acquisition of the original components to ensure the sound remains true. \u003cbr\u003e\u003cbr\u003eLooking for an outside opinion? Lynn Fuston at EQ Magazine performed an in-depth review of the modern-day 1073 versus a vintage model. We think you’ll find his conclusions quite comforting. \u003cbr\u003e\u003cbr\u003eThe Class A design 1073 microphone preamplifier features 3 bands of EQ, with one fixed high frequency band, two switchable bands with cut and boost capability, and a high pass filter. All Neve channel amplifiers are designed to accept signals from a wide range of microphone and line sources. \u003cbr\u003e\u003cbr\u003eThe Neve 1073 mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and more effectively captures a precise image. That’s why the 1073 mic preamp is considered by many to be the very essence of the Neve sound. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eHighlights\u003c\/b\u003e\u003cul\u003e\n\u003cli\u003eClassic transformer microphone preamp amp (Class A design)\u003c\/li\u003e\n\u003cli\u003e3 EQ bands\u003c\/li\u003e\n\u003cli\u003eHand-built and hand-wired to original 1970s design\u003c\/li\u003e\n\u003cli\u003eHP filter\u003c\/li\u003e\n\u003cli\u003eNeve designed hand-wound transformers \u003c\/li\u003e\n\u003cli\u003eBoth inputs are transformer balanced and earth free\u003c\/li\u003e\n\u003cli\u003eMicrophone Input: Gain +80db to +20dB in 5dB steps.\u003c\/li\u003e\n\u003cli\u003eLine Input: Input impedance 10k ohms, gain +20dB to -10dB in 5dB steps.\u003c\/li\u003e\n\u003cli\u003eOutput: Maximum output is \u0026gt;+26dBu into 600 ohms.\u003c\/li\u003e\n\u003cli\u003eOutput is transformer balanced and earth free\u003c\/li\u003e\n\u003cli\u003eDistortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output\u003c\/li\u003e\n\u003cli\u003e(80kHz bandwidth) into 600 ohms.\u003c\/li\u003e\n\u003cli\u003eFreq Response: +\/-0.5dB 20Hz to 20kHz, -3dB at 40kHz. EQ Out.\u003c\/li\u003e\n\u003c\/ul\u003eThe 1073 can be purchased as single or multiple units. Each 1073 module has been designed to perfectly retrofit into the 80 Series Neve Classic consoles as part of a channel strip or can be mounted in a custom rack. The available rack sizes are 3U (which accommodates 2 modules horizontally) or 5U (which accommodates 8 modules vertically). \u003cbr\u003e\u003cbr\u003e\u003cb\u003eNeve \"Classic\" Outboard - Genuine Neve product hand built in UK using all of the original components, nothing new in 30 years\u003c\/b\u003e","brand":"Neve","offers":[{"title":"Default Title","offer_id":44449365262439,"sku":"16806","price":3309.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/neve-1073-ch_16806_1.jpg?v=1787088723"},{"product_id":"neve-1084-ch-demo-deal","title":"Neve 1084 CH (Demo Deal)","description":"\u003cp\u003eOccupying a special place in the imagination of engineers and producers, the \u003cstrong\u003eNeve 1084\u003c\/strong\u003e mic pre\/EQ delivers an incredibly fat, smooth sound. While the 1084 builds on the same basic design of the world-famous 1073, it offers a significantly different palette of frequency selections. The 1084 also features a \"Q\" switch, allowing the user to choose between two different Q types, either narrow or wide with respect to the parametric band. These added features and the 1084’s extended versatility make it a preference over the 1073. \u003cbr\u003e\u003cbr\u003eThe 1084’s three EQ bands provide selectable frequency, with cut and boost capability, and a mid-frequency band which benefits from a High Q Presence switch. The high pass filter can be switched between 45Hz, 70Hz, 160Hz \u0026amp; 360Hz, and the low pass filter between 6kHz, 8kHz, 10kHz, 14kHz, \u0026amp; 18kHz. Both boast 18dB per octave slopes. \u003cbr\u003e\u003cbr\u003eHandcrafted and completely hand wired in Burnley, UK by Neve’s dedicated professionals, the 1084 reissue has been reproduced to the exact specifications of the original modules. Where innovation has improved on previous technology, Neve has welcomed such improvements. However, not all things lend themselves to enhancement. Example: audio transformers. While other manufacturers use replacements, AMS Neve alone has access to the original hand-wound transformers. This is an important factor when you consider that an analogue preamp is only as good as its transformer. That is why only a Neve sounds like a Neve. \u003cbr\u003e\u003cbr\u003eAll Neve mic preamplifiers are designed to accept signals from a wide range of microphone and line sources. Uncompromisingly low noise and distortion with generous overload performance are noteworthy hallmarks of all Neve products. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eHighlights\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eClassic Neve transformer mic preamplifier with wide range of equaliser settings\u003c\/li\u003e\n\u003cli\u003e3 switchable EQ bands\u003c\/li\u003e\n\u003cli\u003eHand crafted and tested precisely to original 1970 design\u003c\/li\u003e\n\u003cli\u003eHP and LP filters with High Q setting\u003c\/li\u003e\n\u003cli\u003eTransformer-balanced and earth free inputs and outputs\u003c\/li\u003e\n\u003cli\u003eOutput: Maximum output \u0026gt;+26dBu into 600 ohms. Output impedance is 75 ohms @1kHz.\u003c\/li\u003e\n\u003cli\u003eDistortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output\u003c\/li\u003e\n\u003cli\u003eFreq. Response: +\/-0.5dB 20Hz to 20kHz, -3dB at 40kHz. EQ Out.\u003c\/li\u003e\n\u003cli\u003eNoise: Not more than -83dBu at all Line gain settings EQ In\/Out\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe 1084 can be purchased as single or multiple units. Each 1084 module has been designed to perfectly retrofit into the 80 Series Neve Classic consoles as part of a channel strip or can be mounted in a custom rack. 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While the 1084 builds on the same basic design of the world-famous 1073, it offers a significantly different palette of frequency selections. The 1084 also features a \"Q\" switch, allowing the user to choose between two different Q types, either narrow or wide with respect to the parametric band. These added features and the 1084’s extended versatility make it a preference over the 1073. \u003cbr\u003e\u003cbr\u003eThe 1084’s three EQ bands provide selectable frequency, with cut and boost capability, and a mid-frequency band which benefits from a High Q Presence switch. The high pass filter can be switched between 45Hz, 70Hz, 160Hz \u0026amp; 360Hz, and the low pass filter between 6kHz, 8kHz, 10kHz, 14kHz, \u0026amp; 18kHz. Both boast 18dB per octave slopes. \u003cbr\u003e\u003cbr\u003eHandcrafted and completely hand wired in Burnley, UK by Neve’s dedicated professionals, the 1084 reissue has been reproduced to the exact specifications of the original modules. Where innovation has improved on previous technology, Neve has welcomed such improvements. However, not all things lend themselves to enhancement. Example: audio transformers. While other manufacturers use replacements, AMS Neve alone has access to the original hand-wound transformers. This is an important factor when you consider that an analogue preamp is only as good as its transformer. That is why only a Neve sounds like a Neve. \u003cbr\u003e\u003cbr\u003eAll Neve mic preamplifiers are designed to accept signals from a wide range of microphone and line sources. 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The 1073 is widely considered the world’s premier mic preamp, delivering the unique Neve sound featured on some of the most famous recordings of the past 40 years.\u003cbr\u003e\u003cbr\u003eThe big, punchy sound of the 1073 complements any musical genre, from rock to rap, jazz to classical. Its lush sound with classic Neve signature makes it the consummate mic pre for recording vocals, guitars, and acoustic instruments of all descriptions. With the 1073DPA, the highly sought-after 1073 mic amp sound is now available in a cost-effective 1U stereo rackmount solution, without the additional EQ found on the classic 1073 unit.\u003cbr\u003e\u003cbr\u003eThe 1073DPA provides the legendary sound of Neve in a remarkably simple format. Two rear-panel Mic and Line inputs feed dual Class A gain stages, with adjustable Gain control and selectable 48V available on the Mic inputs. Class A analogue outputs in XLR format are also found on the rear panel, controlled via adjustable front-panel ±10dB Trim controls. This stereo unit is the perfect solution for studios looking to bring in the very essence of the Neve 1073 sound.","brand":"Neve","offers":[{"title":"Default Title","offer_id":44449365393511,"sku":"13946","price":2539.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/neve_1073_dpa_1_1.jpg?v=1787088723"},{"product_id":"neve-2254r-mono-limiter-compressor-demo-deal","title":"Neve 2254R Mono Limiter\/Compressor (Demo Deal)","description":"Designed in 1969, the original Neve 2254 mono Limiter\/Compressor unit quickly became a legend. Discreet, Class A design and transformer-coupled circuits used in the input, innovative bridge-driver design, side-chain and output stages ensured a totally unique sound. 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Like the other units in the 88 series collection, the 8803 is hand-made and hand-wired in Burnley, England, and delivers legendary Neve sound with digitally recallable settings via USB connection to Mac or PC. This is an outstanding tool for creative flexibility, allowing Neve’s legendary analogue processing to be used as never before in collaboration with computer workstations.\u003cbr\u003e\u003cbr\u003eDesigned to deliver the inimitable sound of the flagship Neve 88RS console, the 8803 Dual Equaliser’s circuitry is based on the classic Neve 8108 topology. Balanced Inputs and ±20dB trim are followed by two 12dB per octave filters. The High-Pass Filter has a variable corner frequency from 25Hz to 300Hz, and the Low-Pass Filter has a range of 3kHz-15kHz. The four bands of equalisation offer selectable shelving and switchable Q on the high and low bands, with continuously variable Q on the mid frequency bands. 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This makes the input more resistant to overload by hot signals. After the input transformer, the signal is attenuated by the same gain reduction FET as in the MC77. The attenuated signal is buffered by our class A KDJ3 opamp, which feeds the output fader. Lastly, our class AB KDJ4 output opamp drives our custom hexafilar nickel and steel output transformer. The total gain (with no attenuation) is 45dB, just like the MC77. \u003cbr\u003e\u003cbr\u003e The attack and release times cover a broader range than the MC77, which can cause distortion... which may or may not be what you are looking for. Use at extremes with caution. The ratios are the same as the MC77, and the threshhold moves up as the ratio goes up, just like the MC77. \u003cbr\u003e\u003cbr\u003e In the center of the unit is an SMT sidechain and stereo link amplifier, below that is our SMT compression LED ladder meter driver. Behind that is the SMT input and output tricolor LED meter driver. \u003cbr\u003e\u003cbr\u003e Stereo linking is accomplished by cross connecting pins 3 \u0026amp; 6 on the edge connector. On the Purple Sweet Ten, there is a second output XLR that can be used to link two Actions. The link is accomplished using a XLR-F to XLR-F cable with pin 2 on one XLR-F connecting to pin 3 on the other XLR-F and vice versa. Plug in the cable, flip the front panel switch and you are linked. 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If the output level is too high (the Class A\/B output opamp can pump out up to +27 dBu), you can ride the level down with the separate Level control.\u003c\/p\u003e\r\n\r\n\u003cp\u003ePressing the “Dual” switch splits the gain between two of our Class A opamps, enabling up to 75 dBu of clean gain, making the Biz a perfect match for ribbon microphones.\u003c\/p\u003e\r\n\r\n\u003cp\u003eWith different Gain, Level, and Dual settings the Biz can produce an infinite variety of tonal variations with the same amount of output level. The front panel DI helps you record instruments and line level sources with unrivaled clarity and punch.\u003c\/p\u003e\r\n\r\n\u003cp\u003eTwo LEDs clearly indicate signal level for the gain and output stages at a glance, turning green to indicate signal present, yellow for 10dB below clipping, and red for clipping. The Biz uses two KDJ3 opamps and one KDJ4 opamp.\u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003ch3\u003eSpecifications\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eMaximum output level +27dBu\u003c\/li\u003e\r\n\u003cli\u003eFrequency response 10hz – 70kHz +\/- 1db (3db down at 100kHz)\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eTransformer input:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eMic mode\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eMaximum gain 60dB in single mode\u003c\/li\u003e\r\n\u003cli\u003eMaximum gain 75dB in dual mode\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003cp\u003eLine mode\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eMaximum gain 35dB in single mode\u003c\/li\u003e\r\n\u003cli\u003eMaximum gain 50dB in dual mode\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eDirect input:\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eMaximum gain 30dB in single mode\u003c\/li\u003e\r\n\u003cli\u003eMaximum gain 40dB in dual mode\u003c\/li\u003e\r\n\u003cli\u003eBeginning Serial Number 1600 February 2008:\u003c\/li\u003e\r\n\u003cli\u003eOver Current Resettable Fused (prevents any module problem from affecting your rack)\u003c\/li\u003e\r\n\u003cli\u003eROHS – Lead Free\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Purple Audio","offers":[{"title":"Default Title","offer_id":44449366311015,"sku":"14557","price":579.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/purple-audio-biz-mk_5631_1.jpg?v=1787088728"},{"product_id":"purple-audio-odd-4-band-inductor-eq4-demo-deal","title":"Purple Audio Odd 4 Band Inductor EQ4 (Demo Deal)","description":"The \u003cb\u003ePurple Audio Odd Equalizer\u003c\/b\u003e is a modern update of the classic \"swinging inputs\" console EQ, with four easy to use bands. Each band uses a high quality inductor and carefully selected caps to give two switchable frequencies. The bands are carefully shaped and spaced to be musical, even at full 12dB boost or cut. The highest band can also be switched from bell to shelf, to boost frequencies extending well beyond 20kHz. \u003cbr\u003e\u003cbr\u003e There are illuminated pushbuttons for additional fixed low (red) and high (yellow) cut filters. A relay true bypass (green) allows for easy comparison with unprocessed source material. With the low and high cut switched out, and all four bands set to 0, the frequency response is +\/- 0.25dB from 15Hz to 25kHz, and -3dB at 60kHz. Has the same input and output transformer as the Biz \u003cbr\u003e\u003cbr\u003e With specialized input and output transformers, the Odd has plenty of headroom, even at full boost. The entire circuit is discrete, with no electrolytic capacitors in the signal path, and no servo amps. 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Roll Music Systems, manufacturer of the popular RMS216 Folcrom passive summing device and the acclaimed RMS755 Super Stereo compressor, are set to release their next innovative new product. \u003cbr\u003e\u003cbr\u003eWith the explosion of new modular products for the 500-series frames sold by various manufacturers, user requests for a tube-based module have been met almost universally with claims by designers and engineers that it couldn't be done. Roll Music Systems has proven it can be done, and be done well. \u003cbr\u003e\u003cbr\u003eThe Tubule is a real transformer-coupled tube mike preamp, getting all its amplification from a standard dual triode tube. It uses sophisticated modern power management circuitry to generate the high-voltage plate supply and the high-current heater supply to power the tube. Careful design of this high-efficiency power management circuitry has allowed for a preamp that fits within the space and power consumption limitations of a single module. \u003cbr\u003e\u003cbr\u003eThe Tubule features switches for -20dB input pad, polarity inversion, and phantom power, a 12-position gain control switch that ranges from 33 to 66dB in 3dB steps, and a continuously-variable input attenuator that ranges from 0 to -10dB for very accurate gain settings that can be easily recalled.","brand":"Roll Music Systems","offers":[{"title":"Default Title","offer_id":44449366605927,"sku":"13999","price":720.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/roll_music_systems_rms5a7_tubule_1.jpg?v=1787088729"},{"product_id":"retro-instruments-2a3-demo-deal","title":"Retro Instruments 2A3 (Demo Deal)","description":"\u003cp\u003eIf you've ever been lucky enough to hear a Pultec EQP-1A3 in action, you already know why it's widely considered the \"holy grail\" of EQs. Without a doubt, the classic has an undeniable magic to it. Even so, it's not perfect in modern studio settings. For one, the low end can get tubby with out-of-control subsonic frequencies, because it just wasn't built for digital. Plus, each one had its own personality, making stereo work less than ideal. With the \u003cstrong\u003e2A3\u003c\/strong\u003e, Retro Instruments set out to make their version of the ultimate EQP-1A3, one that's optimized for modern recording and tweaked in all the right places. 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These most-often-requested sweet spots expand the bounds of the classic without changing its personality.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eDrastically improved low end performance\u003c\/strong\u003e\u003cbr\u003eIf the classic Pultec has a fault, it's in the low-end performance. Still, that's really through no fault of its own. Back then, when you'd boost the  bass, it'd keep boosting down in frequencies you couldn't hear. It didn't really matter because all the low-end subsonic junk would eventually get rolled off by tape machines, consoles, and all the other vintage gear in the signal chain. In today's full-frequency digital environment, though, the tubbiness poses problems and this was a top priority for Retro in rethinking the classic design. The 2A3 elegantly solves the issue by incorporating subsonic filters at 40Hz and 90Hz. These let you do peaking low-frequency boosts, while taming the excessive subsonic energy. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eDesigned for stereo with hand-matched components\u003c\/strong\u003e\u003cbr\u003eClassic mono EQs are solo performers, with varying unit-to-unit characteristics that don't lend themselves to stereo work. To make the 2A3 more useful, Retro Instruments optimized it for stereo. All the capacitors and pots are hand matched, so both channels are identical. It should be noted, too, that the 2A3 manages to give you a full-fledged classic stereo EQ, in just 2U of rackspace. That's double the performance, in half the space you'd expect.\u003c\/p\u003e","brand":"Retro Instruments","offers":[{"title":"Default Title","offer_id":44449366573159,"sku":"16631","price":4019.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/retro_2a3_1_1.jpg?v=1787088729"},{"product_id":"retro-instruments-sta-level-demo-deal","title":"Retro Instruments Sta-Level (Demo Deal)","description":"\u003cp\u003eFew pieces of gear are this universally useful and this universally liked. It just doesn't seem to matter what you send through it, the \u003cstrong\u003eSta-Level\u003c\/strong\u003e makes everything sound great. What does it do? We've heard engineers refer to the Sta-Level's brand of vintage tube compression as being like a big, warm hug. It's gives that extra something that somehow sits a track right where you want it in the mix. A natural on vocals, amazing on bass, the Sta-Level has outpaced its vintage inspiration (the Gates Sta-Level) as an industry standard. Try it on your tracks and you'll hear why.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eGreat for anything but a standard on bass and vocals\u003c\/li\u003e\n\u003cli\u003eInspired by the Gates Sta-Level, updated for today\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eGreat for anything but a standard on bass and vocals\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhether it's a thick rock bass sound or old-school type of R\u0026amp;B bass sound, or anywhere in between, the Sta-Level gives a nice bloom to it – really fat and full. Whatever you send its way, the Sta-Level is extraordinarily musical, giving you a natural, warm tone and the right amount of color and control no matter what source you're working with. From hi-hats to horns, acoustic guitars to drums, if you're after a versatile compressor with stacks of vintage warmth, this might be the best sonic investment you make.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInspired by the Gates Sta-Level, updated for today\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe legendary 1956 Gates Sta-Level dominated hit radio in the 1960s and now its magic sound is working its way back to the radio, through Retro's spot-on rendition. The Sta-Level was the first product Retro ever made and it perfectly captures the \"Retro philosophy\": take a classic, timeless design and seamlessly bring it into the modern world. To update the classic, Retro transformer-balanced the XLR I\/O and uses hand-matched audiophile-grade coupling capacitors and high-quality custom-wound transformers throughout. Retro also uses 6BJ6 tubes, more reliable than the original 6386 tubes (though 6386 is a customer's option). All in all, the Retro Sta-Level brings a timeless classic to a new generation of engineers, with a build quality that readies it for generations to come.\u003c\/p\u003e","brand":"Retro Instruments","offers":[{"title":"Default Title","offer_id":44449366638695,"sku":"13998","price":2965.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/retro_sta_level_1_1.jpg?v=1787088729"},{"product_id":"rupert-neve-designs-portico-ii-channel-strip-demo-deal","title":"Rupert Neve Designs Portico II Channel Strip (Demo Deal)","description":"For recording and mixing engineers, the greatest challenge will always be to capture and transform disparate 2-D elements into an engrossing 3-D vision that elicits the same raw emotions and compelling vibrance as the live performance. In designing the \u003cspan style=\"font-weight: bold;\"\u003eRupert Neve Portico II Channel Strip\u003c\/span\u003e, every possible attention has been paid towards not only producing the most accurate, sweet sounding audio topologies, but also enabling engineers to boldly shape or fine tune tracks to the limit of their imaginations.\u003cbr\u003e \u003cbr\u003e A self-powered 2U channel module comprised of a fully- featured mic preamplifier, 4-band EQ, compressor-limiter, “texture”control and level metering, The Portico II Channel includes a bevy of new features including: Variable Silk \/ Silk+ Texture control, a fully tunable “de-esser”, multiple VCA filtering and detection options, a transient-optimized swept HPF and parallel compression blending. With its simple yet powerful topologies and extensive feature set, every element of the Portico II: Channel is geared towards empowering recording artists to realize these visions.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eInput Section\u003c\/span\u003e\u003cbr\u003e Input signals may be derived from any of three sources; Microphone, Line or DI. The Microphone input has a 10K Ω non-reactive input resistance that handles a full 26dBu signal without the need for a pad. A primary Gain control provides 66dB of gain in 6dB increments for easy recall with a +\/- 6dB Trim for fine adjustment. A transient-optimized HPF continuously covering the range from 20-250Hz is included. In addition the usual 48V Phantom Power switch, Phase Inversion, Signal Present indicator and a Mute switch are included. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability and which maintains a 2 dB noise figure over a wide range.\u003cbr\u003e \u003cbr\u003e Inserting a plug into the DI input, selects a 3M Ω Discrete FET DI circuit that includes the transformer-coupled pristine topography that optimizes both the microphone and DI inputs, allowing low impedance microphones and high impedance sources like electric guitars and basses to deliver their optimum performance. Primary Gain and Trim controls are fully operational. A “Thru” jack on the front panel that duplicates the unaffected source signal allows the use of an external amplifier if required. A “Line” switch selects the independent Line XLR non-reactive input circuit that includes the HPF and Level trim controls.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eTexture\u003c\/span\u003e\u003cbr\u003e One of the key developments in the Portico II is the new Texture section. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing countless tonal options in one device. The texture section features distinct modes, controlled by a potentiometer from barely audible to dramatic!. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.\u003cbr\u003e \u003cbr\u003e Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. “Silk +” mode pushes this technique still further, achieving a more harmonically rich sound.\u003cbr\u003e \u003cbr\u003e Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble vintage designs by Mr. Rupert Neve. Velvet mode pushes this technique further, by increasing saturation on the output transformer to achieve a more colored sound. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eEqualizer\u003c\/span\u003e\u003cbr\u003e The EQ topologies in the 4-Band Equalizer of the Portico II combine the best-loved sound of several classic designs, but are also capable of extremely fine surgical adjustments as well as dramatic boosts or cuts. By default, the EQ section follows the mic preamplifier and HPF, and precedes the compressor, but this sequence may be reversed by engaging the Post Comp switch\u003cbr\u003e \u003cbr\u003e The Low Shelf has an independent engage switch, Classic Peak\/ Accelerated Shelf selection, with +\/- 12dB level adjustment, and selectable turnover frequencies of 35, 60, 100, and 220 Hz. The Fully Parametric LMF and HMF bands have a joint engage switch, providing +\/- 12dB level adjustment, continuously variable “Q” from 0.7 to 5 and continuously variable frequency ranges from 70 to 1.4KHz and 700Hz to 14KHz. In addition to its standard capabilities, the HMF band can also be used to precisely tune a new De-Esser circuit.\u003cbr\u003e \u003cbr\u003e The De-Esser can be varied from off to full effect, and uses the Frequency, and “Q” controls to tame harsh sibilance in vocals and instruments with an independent high-mid limiter. Even when the De-Esser is on, the EQ level may still be used. The High Frequency shelf has independent engage switch, Classic Peak\/ Accelerated Shelf selection, +\/- 12dB level adjustment, and selectable turnover frequencies of 4.7, 6.8, 12, and 25kHz. When two Portico II Channels are used side by side, the EQ section can also excel at stereo material.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eCompressor\u003c\/span\u003e\u003cbr\u003e A further array of tools are used to craft dynamic response. The Portico II’s compressor section is exceptionally flexible. Like the Portico 5043, the compressor a choice of Forward Feed \/ Return Feed modes, either providing a transparent modern response, or a smoother more musical vintage response. Along with FF\/FB modes, there are also 1:1 to 40:1 ratio controls and threshold from -30dBu to +20dBu, together with Attack from 20 to 75ms (.1 ms in fast mode), Release from 100ms to 2.5s, and Make up gain from 0 to 20dB with a Stereo Link.\u003cbr\u003e \u003cbr\u003e The Portico II compressor however incorporates a number of new ways to tame or enhance dynamics. HPF to SC inserts the High Pass Filter into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. The “Fast” switch alters the compressor’s attack to react to transients with a roughly .1ms response time. When “fast” is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings.\u003cbr\u003e \u003cbr\u003e “Blend” works by creating a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\u003cbr\u003e \u003cbr\u003e To further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal under another. (for instance, a voice-over keying the compressor to duck a background music track). By connecting the “link” jack on the back of the Portico II to another Portico II link jack and engaging the Link buttons, the compressor section may be used for stereo material.","brand":"Rupert Neve Designs","offers":[{"title":"Default Title","offer_id":44449366900839,"sku":"15117","price":2800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/rupert_neve_portico2_channel_strip_1.jpg?v=1787088730"},{"product_id":"shadow-hills-industries-dual-vandergraph-demo-deal","title":"Shadow Hills Dual Vandergraph 500 Series Stereo Compressor (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eShadow Hills Dual Vandergraph\u003c\/strong\u003e follows the lineage of the \u003ca href=\"https:\/\/vintageking.com\/shadow-hills-industries-mastering-compressor\"\u003eShadow Hills Mastering Compressor\u003c\/a\u003e maintaining its reputation of undeniable quality and exceptional performance, in a convenient 2-slot API 500 Series format module. Its inner components consist of the discrete gain cells from the Mastering Compressor combined with the Optograph’s extremely flexible Sidechain Filter matrix. It features a fully discrete Class A audio path and Shadow Hills' custom Iron Transformers. This combination provides exceptional dynamic control making the Dual Vandergraph a premium stereo compressor for your 500 Series rack!\u003c\/p\u003e\r\n\u003cp\u003eJust like the Mastering Compressor, the Compression and Output Level controls are Swiss made twenty-four position attenuators. The Ratio switch, selects between: 1.2: 1, 2.5: 1, 4: 1, 8: 1. In addition to changing ratios, each selection changes preset attack and recover times. The Sidechain Filter Matrix controls the frequency sensitivity of the side-chain. The positions are: 90 hertz, 150 hertz, 250 hertz and Bandpass.\u003c\/p\u003e\r\n\u003cp\u003eThough the Dual Vandergraph operates in stereo, it is controlled by a single set of variable attenuators. It will function as normal with just one channel connected.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eCONTROLS:\u003c\/h3\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eRatio\u003c\/li\u003e\r\n\u003cli\u003eFilter\u003c\/li\u003e\r\n\u003cli\u003eCompressor\u003c\/li\u003e\r\n\u003cli\u003eOutput\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449367031911,"sku":"15880","price":2339.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow-hill-dual-vandergraph-23_13055_1_1.jpg?v=1787088731"},{"product_id":"shadow-hills-industries-mastering-compressor-demo-deal","title":"Shadow Hills Industries Mastering Compressor (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eShadow Hills Industries Mastering Compressor\u003c\/strong\u003e is a mastering-grade compressor\/limiter with two compressors (stereo or dual mono) in series and three different output transformer selections (Nickel, Iron, and Steel) to choose between clean, colored, and dirty textures. The optical section is entirely bypassable, and it’s possible to bypass both compression sections to use the transformer section alone. The metering can reflect optical gain reduction, discrete gain reduction, or output level. These versatile bypass and metering options make the Shadow Hills Mastering Compressor suitable as both a tracking compressor and a bus compressor.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTWO COMPRESSION SECTIONS\u003c\/h3\u003e\r\n\u003cp\u003eThe input stage is transformer balanced, followed by an optical compressor section. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is a discrete Class A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: 0.1, 0.5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: 0.1, 0.25, 0.5, 8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material.\u003c\/p\u003e\r\n\u003cp\u003eBoth sections are hardwire bypassable allowing you to completely remove either from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a straight wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it can also serve as an excellent tracking compressor.\u003c\/p\u003e\r\n\u003cp\u003eThe metering can reflect, optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eTHREE SWITCHABLE OUTPUT TRANSFORMER OPTIONS\u003c\/h3\u003e\r\n\u003cp\u003eThe Mastering Compressor features Shadow Hills' custom transformer switching network with three output transformers options. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty. The first position is Nickel which is a custom version of a famous LA custom console. This setting provides a natural-sounding low end and enhanced high frequencies. With the Iron section, the signal goes through the op-amp and into a Class A output stage (which only passes even-ordered harmonics) then through a custom Iron transformer for a slight boost at 110 Hz. The last transformer position is Steel which features an open and detailed sound with a boost at approximately 40 Hz for big low end.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003ePREMIUM QUALITY COMPONENTS\u003c\/h3\u003e\r\n\u003cp\u003eThe Mastering Compressor features custom-designed, gold-plated attenuators for easy settings recall. All 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite.\u003c\/p\u003e\r\n\r\n\u003chr\u003e\r\n\u003ch3 id=\"toc_4\"\u003eTESTIMONIALS\u003c\/h3\u003e\r\n\u003cp\u003e\u003cem\u003e\"The Shadow Hills Mastering Compressor is a very versatile and unique sounding unit, capable of transforming a quite ordinary sounding mix into something warmer, richer and more musically glued together. It has a completely natural, smooth sound, which perfectly compliments mixes which have been done primarily in the box by smoothing many of the harsh overtones. By linking the opto and discreet compressors, it is possible to nearly re-balance a mix by making the ambient elements and musical hooks move forward in a subtle and non-hyped way. The choice of iron\/nickel\/steel for the compressor is an ultra fine-tuning control which is the most fun part of working with the unit, as it affords a surprise in the special enhancement it provides and keeps the user from “settling” on a setting which is almost, but not quite, right. The ergonomics for the Shadow Hills are the best I ever encountered in a mastering compressor by a wide margin. Easy to read, easy to recall. Of course, the ultra-large knobs are the wow factor which all visitors to the studio have immediately remarked about. No one piece of gear is ever good for every project, but the Shadow Hills has, in two months use, become an essential part of my mastering set-up, affording me a perfect solution to many of the problems we encounter in the post recording studio era.\"\u003c\/em\u003e \u003cstrong\u003e- Greg Calbi, Sterling Sound\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cem\u003e\"Nobody buy the Shadow Hills Mastering Compressor! Please return yours now. I'm willing to suffer the consequence of being the only one to own that anchor. Yah, it adds a shimmering excitement to multi buss compression by not getting in the way of the internal dynamics I've created... and I do love putting my hands on those big black knobs...but who cares? Just once, I want a great compressor that nobody else can have.\"\u003c\/em\u003e \u003cstrong\u003e- Michael Brauer\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cem\u003e\"The Shadow Hills mastering compressor is something I've avoided since it came out because, cynical Canadian that I am, I figured something that looked that good couldn't sound amazing. I was so wrong. It's an instant game changer... put it on the mix bus with a tiny bit of optical compression and more liberal VCA compression with the sidechain engaged keeping all the low end and BLOODY HELL IT'S AMAZING. I'm mixing at least twice as fast as I ever have, and the mixes sound completely on par with the best mixers out there. I know how that reads in text form, but it's really something else. Sorry for the unfiltered gearsluttiness but I can't contain myself. They should rename it the Game Changer.\"\u003c\/em\u003e \u003cstrong\u003e- Greg Wells\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cem\u003e\"Forget the aesthetics of the unit - it's the most versatile comp ever. The discrete comp is a cross between a G384 and a 33609. The opto side is fast as hell. I'd love to take it off the 2mix but that won't happen.\"\u003c\/em\u003e \u003cstrong\u003e- Doug McBride\u003c\/strong\u003e\u003c\/p\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449367097447,"sku":"14293","price":8079.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow_hills_mastering_comp_straight_1.jpg?v=1787088731"},{"product_id":"shadow-hills-industries-the-equinox-demo-deal","title":"Shadow Hills The Equinox (Demo Deal)","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eShadow Hills Equinox\u003c\/span\u003e is like a complete small-format recording console in just 2 rack spaces. It features 2 GAMA mic preamps, 30 channels of analog summing, and a mastering-grade monitor controller.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eMicrophone Preamp\u003c\/span\u003e\u003cbr\u003e The mic preamps are the Golden Age Microphone Amps.  Each has 60dB of gain, 24 position gold-plated stepped attenuators, 48V Phantom Power, 20 dB Pad, Phase Reverse, and 1\/4” DI Input. The most exciting feature of the amplifier section is the switchable output transformers, which allow for several different sonic flavors in the same box. The transformers and characteristics are as follows:\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eSteel Transformer\u003c\/span\u003e (hand wound to match a favorite 1970's American output transformer.) Tight and punchy, the most colored with the biggest low end.  The sound of rock and roll.\u003c\/li\u003e\r\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eNickel Transformer\u003c\/span\u003e (hand wound transformer based on a L.A. custom console.)  Super clear and wonderful sounding, but with a subtle and musical smoothing of the transients.\u003c\/li\u003e\r\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eIron Transformer\u003c\/span\u003e (modern version of the classic St. Ives 1166 Neve output transformer.) - Warm and round, with a super detailed and present mid-range. \u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cbr style=\"font-weight: bold;\"\u003e \u003cspan style=\"font-weight: bold;\"\u003eSumming Network\u003c\/span\u003e\u003cbr\u003e The summing buss is a 30-channel mixer utilizing copper buss bars and esoteric resistors, for simply the finest sounding passive summing.  DAW inputs 3-24 are STEREO summed and distributed odd to left and even to right, while DAW inputs 25-32 are sent MONO to both channels of the summing network. The summed signal then passes through the Golden Age amplifiers with selectable output transformers.  Effectively allowing the user to choose between the sounds of three different consoles on the mix bus.  \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eMonitor Section\u003c\/span\u003e\u003cbr\u003e The monitor section features: choice of 4 input sources, choice of 3 speaker outputs, 24 step Monitor Level control, Monitor Level DIM switch, switch to engage built-in Talkback Mic, Cue output, and Stereo\/Mono switch.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eWith the INPUT SELECT switch IN:\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eDAW 1-2 position the Equinox monitors the stereo mix output of the user’s DAW.  In this mode, the incoming DAW 1-2 signal bypasses the GAMA amplifiers and feeds the Monitor Level control.  This allows the user to employ the Equinox’s mic preamps standalone and record\/monitor them through the DAW’s I\/O.\u003c\/li\u003e\r\n\u003cli\u003eMIX 3-32 position, the Equinox monitors the summing network after passing through the GAMA’s. \u003c\/li\u003e\r\n\u003cli\u003eEXTERNAL position, the Equinox is able to monitor an additional balanced stereo source via rear panel XLR connections.\u003c\/li\u003e\r\n\u003cli\u003eMIC PRE position, the Equinox routes the mic preamp output directly to the Monitor Section.  This allows the user to monitor the signal coming directly from the preamp, prior to any converter artifacts or intermediate processing. \u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003eThe monitor section also features 3 pairs of Speaker Outputs and a Cue (or headphone) Output. Both reproduce what the Input Select is set to. Only one speaker output pair may be selected at a time. The speaker output level is control by the Monitor Level knob. The Cue Output is unaffected by the Monitor Level, and switches to the Talkback signal when the Talkback Switch is engaged.  Simultaneously, the Monitor Level dims when the Talkback Switch is engaged.\u003cbr\u003e \u003cbr\u003e With all these features in a rugged 2U enclosure the Shadow Hills Equinox is equipped for the demands of modern recording, but styled and crafted to the high standards of a bygone era. \u003cbr\u003e  \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eNote:\u003c\/span\u003e This unit requires the Shadow Hills PSU (not included).\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\u003ch3\u003eTestimonials\u003c\/h3\u003e\r\n\u003cp\u003eThe Equinox represents all that is right about Peter Reardon and his Shadow Hills Industries products. It's beautiful, it's functional, it's innovative, it's a throwback to another time that anticipates the needs of the future, and it's not cheap; but it's probably worth triple its price. The Equinox is a two-channel preamp; 32-channel summing buss; and master section complete with talkback mic, dim switch, mono\/stereo switch, and outputs to three sets of monitors and your headphone amp; with a pair of green \"magic-eye\" VU meters; contained in a sturdy 2U-height steel case.\u003cbr\u003e\u003cbr\u003eThe first thing that people notice about Shadow Hills boxes is the use of black Bakelite-style knobs and glowing green filaments that scream contemporary Batcave... but the defining feature of Peter Reardon's work to date lies in the switchable output transformer settings. Each channel can be set to Nickel, Iron, or Steel. Steel is punchy, thick but bright, and is likely based on the vintage '70s API sound. Iron is essentially the St. Ives 1166 Neve hardware. And Nickel is softer and gooier and is based on a custom L.A. console. These three options not only are applicable on the two preamps going into your DAW but on the 32-channel summing buss coming out as well.\u003cbr\u003e\u003cbr\u003eTherefore, you can route your digital signals out of your DAW and sum in the Equinox, switching the output transformer on your mix to emulate one of three heavy duty console textures; and remember, this is old-world hardware, not a digital simulation. The summing buss uses esoteric Holco metal film resistors (the same ones in Shadow Hills custom mastering consoles) located right next to the input transformers— wiring at its finest, which is reflected in the clean, fat sound.\u003cbr\u003e\u003cbr\u003eThe Equinox feels and sounds as if you are working on an actual console. This is no minor thrill for those of us who built our skills on computer DAWs. The talkback mic\/ dim feature in the master section will make communication with the performer far more convenient and professional.\u003cbr\u003e\u003cbr\u003eThe mic preamps have their own separate I\/O, so you do not have to spend any time behind the unit changing cables when you are mixing versus when you are tracking. The Equinox comes with a separate 2U power supply. The required connectors and cords are not cheap to purchase and should be factored into the total cost. All 32 summing inputs along with the speaker outputs are D sub. The preamp cabling is balanced XLR of course. There are also balanced XLR inserts on the 2-buss which I use for external processing after summing.\u003cbr\u003e\u003cbr\u003eOn the front panel, the master section has input choices for DAW, internal summing buss, external 2-track, and the built-in mic preamps. This makes it possible to toggle between in-the-box DAW and Equinox-summed mixes. You also have monitor volume control, stepped gain knobs for the two preamp\/summing channels, and the expected phantom power, polarity, and pad switches. Finally there is the speaker-select knob to choose one of three sets of speaker outputs, as well as a mono\/stereo switch and talkback toggle.\u003cbr\u003e\u003cbr\u003eThe Equinox is so visually stunning and sturdy and has so many features that it is easy to overlook that the most inspiring and useful feature by far is the sound. Essentially two high-end mic preamps and hardware summing of the highest quality, this unit has improved my mixes immeasurably. As an early owner of one of the other summing boxes (I found it too transparent), I was skeptical of outboard summing, but the Shadow Hills Equinox has made me a believer.\u003cbr\u003e\u003cstrong\u003eJim Roll, TapeOp\u003c\/strong\u003e\u003c\/p\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449367130215,"sku":"14058","price":5299.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow_hills_equinox_front_1_25e28051-4721-43d2-893c-5f35234f44df.jpg?v=1787088732"},{"product_id":"smart-research-c2-compressor-demo-deal","title":"Smart Research C2 Stereo\/Dual-Mono Compressor (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eSmart Research C2 Stereo Compressor\u003c\/strong\u003e houses two independent mono compressors. 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