{"title":"Mastering Equalizers","description":null,"products":[{"product_id":"manley-slam-mastering-version","title":"Manley SLAM! Limiter\/Preamp - Mastering Version","description":"\u003cp\u003eThe \u003cstrong\u003eManley SLAM! Mastering Version\u003c\/strong\u003e features the stereo ELOP and FET limiters in tandem dedicated for mastering controlled by precision switches instead of pots. All functions have been expanded and specially tailored for mastering. It incorporates detented and logable 1\/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is in full production.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eDifferences and Features\u003c\/h3\u003e\r\n\r\n\u003cp\u003eFirst off: no microphone preamps. You mastering engineers certainly don't need those. The mic pre and input select switch are removed and the switches become dedicated \"mode\" switches one each for the ELOP and the FET limiters.\u003c\/p\u003e\r\n\r\n\u003cp\u003e1) The ELOP limiter gets more Ratios - 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.\u003c\/p\u003e\r\n\r\n\u003cp\u003e2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe \"50%\" setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain 'reads' off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe \"LP Lim\" setting only comes into play for hot signals and reduces the depth of gain reduction for high freqs. This translates to - hot signals + moderate gain reduction = brighter, more present signal, less distortion, more balls. This mode allows more high frequencies to pass through without being limited.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe \"CLIP\" setting introduces a fixed threshold clipper circuit set up about -2 dB DFS or +18 dBv at the XLR. Within normal usage \"CLIP\" generally prevents outputs from passing beyond +18 dBv, and 97% of the time, clips in a controlled fast-recovery manner before a converter would (in generally a less than desirable sounding way).\u003c\/p\u003e\r\n\r\n\u003cp\u003eFinally, the \"BOTH\" setting on the FET limiter engages both the \"LP Limit\" and the \"CLIP\" functions at the same time. This might be appropriate for metal and projects demanding intense volume. The \"BOTH\" mode is designed for situations where extreme processing and loudness is required but where attack, brightness and aggressiveness needs to be preserved or enhanced.\u003c\/p\u003e\r\n\r\n\u003cp\u003e3) The LEFT blue erstwhile-\"limit\" button becomes a master stereo LIMIT bypass switch here in the Mastering Version. When it is not engaged, it becomes a true hard-wire bypass (This was not possible on the mic preamp regular version obviously).\u003c\/p\u003e\r\n\r\n\u003cp\u003e4) The Right blue button becomes the DAC select switch (stereo).\u003c\/p\u003e\r\n\r\n\u003cp\u003e5) The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1\/4\" jack input select in this new mastering version.\u003c\/p\u003e\r\n\r\n\u003cp\u003e6) There are no pots on the faceplate of the Mastering Version of the SLAM! All of the knobs in the Mastering Version are discrete detented switches in mostly 1 dB steps, with some appropriate 1\/2 dB and 2 dB steps, right where they should be.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449244708967,"sku":"6190","price":10499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley-slam-master_6190_1_1.jpg?v=1787088290"},{"product_id":"weiss-eq1-dyn","title":"Weiss EQ1-DYN Dual 7-Band Digital EQ","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MK2\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.\u003c\/p\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449250607207,"sku":"5493","price":17023.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_eq1_front.jpg?v=1787088312"},{"product_id":"weiss-eq1-dyn-lp-combo","title":"Weiss EQ1-DYN-LP Combo Dual 7-Band Digital EQ","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MK2\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.\u003c\/p\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449250639975,"sku":"5494","price":20667.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_eq1_front_1.jpg?v=1787088312"},{"product_id":"mercury-eq-p1-equalizer","title":"Mercury EQ-P1 Mono Tube Equalizer","description":"\u003cp\u003eThe \u003cstrong\u003eMercury EQ-P1\u003c\/strong\u003e is based on the vintage 'Pultec EQP1a' circuit, which uses a passive EQ circuit with a fully balanced (push-pull) gain make up amplifier. This new Mercury production utilizes only the highest quality passive components, while remaining true to the original, and like all Mercury products, has transformer balanced input and outputs. Besides a much more powerful and stable power supply and running DC on the heaters, rather than AC, the only other modernization is one of Mercury EQP2's most popular features: the Mercury I.S.T. Switch.\u003c\/p\u003e  \u003cp\u003eThe Mercury I.S.T. Switch offers the choice to switch the Interstage Transformer in or out of the circuit. Giving engineers a choice with a flick of a switch between the standard Mercury warm, musical, \"vintage\" tone with the I.S.T. Switch not engaged (out) or a much more open and airy version of the same full, warm tone with the switch engaged (in). In the original Pultec EQP the Interstage transformer was always in the signal path. With the I.S.T. Switch engaged and the interstage transformer not in the circuit, there is slight widening of the sound and slightly more open top end. Many of today's engineers value this feature on the Mercury EQ-P1 and now the Mercury EQ-P2 Studio Program Equalizers to have choice between two great, but different sounds without changing their frequencies or setting and hearing the change instantly. Note: With the I.S.T. Switch engaged or not, the input and output transformers are always in the circuit.\u003c\/p\u003e  \u003cp\u003eThe Mercury I.S.T. Switch makes it possible to change the characteristics of the tube by a simple flip of a switch. This flexible, modern feature can only be found in the Mercury EQ-P1 circuit. This provides engineers with the choice to use the 1:1 transformer in the middle of the circuit, or not.\u003c\/p\u003e  \u003cp\u003eThe Mercury EQ series are based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier ('Pultec style') equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449252245607,"sku":"1531","price":3499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-p1_1_22637385-77f9-44de-8e6b-8ea63129f489.jpg?v=1787088319"},{"product_id":"mercury-eq-h1-equalizer","title":"Mercury EQ-H1 Mono Tube Equalizer","description":"\u003cp\u003eThe \u003cstrong\u003eMercury EQ-H1\u003c\/strong\u003e features a passive EQ circuit with a single ended gain make up amplifier topology, based on the vintage 'Pultec EQH' circuit. The Mercury EQ-H1 circuit provides a musically satisfying result unobtainable with active and parametric EQs, since it does not rely upon negative feedback (and all its associated phase and dynamic distortions) to achieve equalization. The EQ-H1, like all Mercury products, has transformer balanced (XLR) input and outputs. The only modern additions or changes to the original are a much more powerful and stable power supply and running DC on the heaters, rather than AC, and two additional frequencies to expand the range and make it more flexible.\u003c\/p\u003e  \u003cp\u003eThe Mercury EQ series all based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier ('Pultec style') equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":44449252278375,"sku":"1532","price":3148.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/mercury_eq-h1_1_9c6713b8-e3a2-4067-98e2-ec04b5d15cdc.jpg?v=1787088320"},{"product_id":"spl-passeq","title":"SPL PASSEQ","description":"\u003cp\u003eWith 72 passive filters (36 x Boost, 36 x Cut per channel), the \u003cstrong\u003eSPL PASSEQ\u003c\/strong\u003e surpasses all previous designs of this type by a wide margin. Each channel is divided into three Cut and three Boost bands, each offering 12 switchable frequency ranges. The Cut and Boost ranges are not identical; crossovers are designed to work with like a precise mechanic cogwheel so as to allow the engineer access to the largest possible number of optimal, wide-band S-curves with variable slopes.\u003c\/p\u003e\r\n\r\n\u003cp\u003eA further noteworthy PASSEQ feature is its individual sonic adaptation of each inductive filter through separate coil\/condenser\/resistor combinations: In stark contrast to earlier filter design and construction, each PASSEQ filter is optimized for the frequency assigned.\r\nTo ensure the best possible signal warmth, richness and musicality in processing, coils for critical voice frequencies are custom-made for the PASSEQ.\r\nThis achieves the widest possible range and tonally appealing sound color palette from any passive EQ.\u003c\/p\u003e","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":44449253490791,"sku":"7545","price":4999.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/spl-passeq_7545_1.jpg?v=1787088325"},{"product_id":"chandler-emi-tg12345-curve-bender","title":"Chandler EMI TG12345 Curve Bender EQ","description":"\u003cp\u003eThe \u003cstrong\u003eChandler Curve Bender\u003c\/strong\u003e was conceived by Chandler Limited designer Wade Goeke and Abbey Road senior engineer Peter Cobbin and is based on the vintage EMI TG12345 desk used to record The Beatles and Pink Floyd.  This newest EMI equalizer continues the tradition of EMI eqs started in 1951 with the RS56, affectionately entitled the Curve bender by EMI designers and continued with the TG12345 in 1968, and TG12412 in 1974.  The newest version takes the simple but beautiful sounding TG12345 equalizer and realizes it in a fully featured and rethought package for today's use. \u003cbr\u003e\u003cbr\u003eDuring his mixing of numerous Beatles related projects including, Anthology, Yellow Submarine, and Imagine, Peter Cobbin thought of having a fully featured and ultimately flexible version of the original desk eq units.  After Wade presented him with a working version of the famed console eq Pete realized his time had come and set Wade to making his unit.  Peter asked for four bands and filters based on the slopes of the original desk but with overlapping and expanded choices.  Wade turned the 9 selections on the vintage version into 51 eq points plus a multiply switch that increases the boost\/cut to 15db (as well as sharpening the Q), filters, and bell\/shelf selections on the high and low bands. \u003cbr\u003e\u003cbr\u003eA simple equalizer from the rich past of EMI and Abbey Road has now come full circle into a modern powerhouse suitable for recording, mixing, and mastering.  The rest is new EMI\/Abbey Road history.\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eChandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI\/Abbey Road Studios.\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eAbbey Road Studios, EMI, TG and their associated logos are trademarks of EMI (IP) Limited.\u003c\/em\u003e\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449253556327,"sku":"7722","price":7480.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler-curvebender_7722_1_02cfa820-dede-4338-8ba3-8ba2164e8fcf.jpg?v=1787088326"},{"product_id":"manley-massive-passive-mastering-version","title":"Manley Massive Passive Tube Equalizer - Mastering Version","description":"\u003cp\u003eThe \u003cstrong\u003eManley Massive Passive\u003c\/strong\u003e is a passive design and not a \"true parametric.\" A true parametric implies non-interacting controls. In the Massive Passive, the \"Gain\" and \"Bandwidth\" controls do interact (on purpose). We cannot create a \"Gain\" switch that is set up for \"consistent\" 1\/2 dB steps. When you change the \"Bandwidth\" the step size must and will change. \u003cbr\u003e\u003cbr\u003e On the regular version, you get a full 20dB boost or cut only when: the bandwidth is fully clockwise (narrow) in bell mode or fully counter-clockwise in shelf mode. Here on the Mastering Version, this maximum boost or cut is 11dB. Conversely at the widest bell, the maximum boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A similar situation is also true for the bandwidth detents. So in this new Mastering Version, do not expect a certain dB change per step as it will vary according to where the bandwidth is set. But whatever the step sizes are, they will be repeatably 16 steps. \u003cbr\u003e\u003cbr\u003e The Frequency select is already detented as it is and always has been a Grayhill switch. It also interacts in shelf mode. On a similar note, the Massive Passive is a \"parallel design\" and not the conventional \"series design.\"  This means the bands interact with each other too. It is possible, to set a band to boost 20 dB but if another band is boosting near or at that frequency, very little will happen. On a conventional EQ the two bands \"add\" and you would be boosting 40 dB into clipping. Because the bands interact, predictable step sizes are unrealistic, however, with the Mastering Version, you will be able to repeat settings (if you log them of course). The price paid for interacting bands, is a better sounding EQ and bizarre looking settings (on purpose). Unlike virtually every other EQ, the Massive Passive allows much more EQ without sounding \"processed.\" Where 5 or 6 dB is about all one could attempt with other EQs in mastering, the Massivo amazes engineers with how much EQ they can do and get more \"natural\" results at the same time. We could have squeezed 11 position Grayhill switches in the modules if we had wanted 1\/2 dB steps but then the maximum range would have become only 5.5 dB. \u003cbr\u003e\u003cbr\u003e Remembering what we stated above, the minimum range would then become about 1.5 dB with approximately 0.2 dB steps. This approach would have essentially thrown away most of the useful range the unit is capable of. Going with these special mechanically detented knobs which use the same pots underneath that the normal Massivo uses, we get nearly all the range of the normal version, but with the repeatability of the detents. We have also custom tailored the Filters in the Mastering Version specifically for Mastering purposes, moving them lower and higher than the normal version, with mastering engineers specifically in mind. If you are looking for drastic effects (like telephone sounds) then get the normal version. These filters are really geared for mastering engineers. Additionally, the Master Gain Trim controls in the Mastering Version are true 11 position 1\/2 dB stepped Grayhill switches set up for a range between -2.5 to +2.5 dB of master gain trim. This allows more confidence in left\/right matching and calibration.\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003ch3\u003eSpecifications:\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eIns \u0026amp; Outs Balanced XLR \u0026amp; 1\/4\" (accepts unbalanced)\u003c\/li\u003e\r\n\u003cli\u003eLevel +4 dBu nominal, internal switches for -10 operation\u003c\/li\u003e\r\n\u003cli\u003eHARDWIRE Bypass Switch (unit does pass audio when powered off)\u003c\/li\u003e\r\n\u003cli\u003e44 Frequencies (roughly 1\/4 octave spacing)\u003c\/li\u003e\r\n\u003cli\u003eFrequency Range: 22 Hz to 27 kHz\u003c\/li\u003e\r\n\u003cli\u003eEQ Boost\/Cut Range: Maximum 11 dB boost or cut\u003c\/li\u003e\r\n\u003cli\u003eNominal Q range: 1.5 to 3 (uniquely active in shelf modes)\u003c\/li\u003e\r\n\u003cli\u003eFrequency Response: ±2 dB: 8 Hz to 60 kHz\u003c\/li\u003e\r\n\u003cli\u003eMaximum Output @ 1.5% THD +37 dBv; +26 dBv @ 20 Hz\u003c\/li\u003e\r\n\u003cli\u003eTHD \u0026amp; Noise (1 kHz @ +4 dBu): 0.06%\u003c\/li\u003e\r\n\u003cli\u003eNoise Floor (referred to +4 dBu): -85 dB (A Weight)\u003c\/li\u003e\r\n\u003cli\u003eDynamic Range: 120 dB\u003c\/li\u003e\r\n\u003cli\u003eTube Complement: 2 x 12AU7, 4 x 6414\u003c\/li\u003e\r\n\u003cli\u003ePower Consumption (120\/240VAC): 72 watts\u003c\/li\u003e\r\n\u003cli\u003eUnit is factory set for 100 V, 120 V or 220-240 VAC operation for original destination country's mains voltage\u003c\/li\u003e\r\n\u003cli\u003eOperating Mains Voltage changeable with power transformer changeover switch and fuse value change\u003c\/li\u003e\r\n\u003cli\u003eMains Voltage Frequency: 50~ 60Hz\u003c\/li\u003e\r\n\u003cli\u003eSize (3U): 19\" x 5.25\" x 10\"\u003c\/li\u003e\r\n\u003cli\u003eWeight: Unit 21 lbs\u003c\/li\u003e\r\n\u003cli\u003eShipping Weight: 27 lb\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449254277223,"sku":"295","price":8399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley-massive-passive-mastering_295_1_f8a32f43-2f2f-43df-8edb-e3007140b02e.jpg?v=1787088329"},{"product_id":"tube-tech-eq1am","title":"Tube-Tech EQ1AM","description":"The \u003cb\u003eTUBE-TECH EQ 1AM\u003c\/b\u003e is a full range one channel unit, featuring low \u0026amp; high cut, low \u0026amp; high shelving and three overlapping bands. The cut filters are designed around unity gain amplifiers and the shelving and the bell filters are designed around two tube operational amplifiers. \u003cbr\u003e\u003cbr\u003eThe unit is all tube based except for the power supply. Input and output have fully floating transformers. All DC voltages are stabilized, except the anode voltage for the output stage. \u003cbr\u003e\u003cbr\u003eFeatures \u003cbr\u003e \u003cul\u003e \u003cli\u003eLow cut at 6 frequencies: Slope 6 dB or 12 dB\/octave \u003c\/li\u003e\n\u003cli\u003eHigh cut at 6 frequencies: Slope 6 dB or 12 dB\/octave \u003c\/li\u003e\n\u003cli\u003eBand 1-3, bell type: 36 overlapping frequencies (12 per band), +\/- 20 dB with variable bandwidth \u003c\/li\u003e\n\u003cli\u003eLow shelving at 6 frequencies: +\/- 15 dB \u003c\/li\u003e\n\u003cli\u003eHigh shelving at 6 frequencies: +\/- 15 dB \u003c\/li\u003e\n\u003cli\u003eAll switches gold plated \u003c\/li\u003e\n\u003cli\u003eConductive plastic potentiometers \u003c\/li\u003e\n\u003cli\u003eFrequency response: 5 Hz to 60 kHz \u003c\/li\u003e\n\u003cli\u003eVery low noise: \u0026lt; -85 dBU \u003c\/li\u003e\n\u003cli\u003eMaster bypass with clickless relay \u003c\/li\u003e\n\u003cli\u003eAll 7 sections fitted with separate in\/out switch\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Tube-Tech","offers":[{"title":"Default Title","offer_id":44449254309991,"sku":"309","price":6190.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/tubetech_eq1am_3.jpg?v=1787088329"},{"product_id":"gml-9500","title":"GML 9500","description":"\u003cp\u003eBrought to you by George Massenburg, the man who invented the very concept of Parametric Equalization, the\u003cstrong\u003e GML 9500\u003c\/strong\u003e Mastering Equalizer is the mastering-grade version of the industry-standard 8200.  For over twenty years engineers have relied on Massenburg equalization to create sonic perfection, and both the 8200 and the GML9500 can be found on virtually every major recording studio's racks.  stereo bus.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIndustry-standard EQ found in most major studios worldwide\u003c\/li\u003e\n\u003cli\u003e1\/2dB steps of Boost and Cut and 24 different frequency choices per band\u003c\/li\u003e\n\u003cli\u003e5-band dual-mono EQ with overlapping bands\u003c\/li\u003e\n\u003cli\u003eIncredibly transparent and natural sounding\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eThe choice of studios all over the world\u003c\/strong\u003e\u003cbr\u003e Go into any major recording studio, anywhere on earth, and you'll probably find at least one GML9500 Mastering Equalizer across the mix outs.  It's that clear! George Massenburg, the inventor of parametric equalization, created the GML9500 for no-compromise audio environments in which the wrong master EQ could mean the difference between a Grammy and an also-ran.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eFive bands, extraordinary control\u003c\/strong\u003e\u003cbr\u003e Each of the GML9500's five bands offers 15dB of boost or cut and adjustable level control in 1\/2dB increments.  You have ultimate flexibility with 24 selectable frequencies per band! The gain, frequency, and Q controls are fully detented for absolute precision and repeatability.  With uncommon front panel simplicity you can shape your signal a little or a lot!\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eAn astonishingly clean, clear sound\u003c\/strong\u003e\u003cbr\u003e Quite simply, the GML9500 is the archetype Mastering Equalizer.  Its extraordinary resolution, benchmark transparency, generous headroom, and surgical precision have been imitated by many other equalizers, but exceeded by no other.\u003cbr\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e","brand":"GML","offers":[{"title":"Default Title","offer_id":44449254342759,"sku":"413","price":11050.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/gml_9500_1.jpg?v=1787088329"},{"product_id":"millennia-mast-mastering-option","title":"Millennia MAST- Mastering Option","description":"\u003cp\u003eQuasi-mastering option for NSEQ-2 or TCL-2. Provides all dented, all loggable controls for exact session recall and precise reset. Per stereo unit.\u003c\/p\u003e","brand":"Millennia Media","offers":[{"title":"Default Title","offer_id":44449254375527,"sku":"5268","price":750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/millennia_option_3.jpg?v=1787088330"},{"product_id":"crane-song-ibis-mastering-eq","title":"Crane Song IBIS Mastering Equalizer","description":"\u003cp\u003e\u003cstrong\u003eCrane Song IBIS Mastering EQ\u003c\/strong\u003e is a stereo four-band mastering EQ with low cut.  Selectable 'color' switch for one out of the four bands, or all the bands.  Frequencies have actual notes labeled (i.e., 440=A).\u003c\/p\u003e","brand":"Crane Song","offers":[{"title":"Default Title","offer_id":44449254408295,"sku":"2831","price":7999.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/crane_song_ibis_masteringeq.jpg?v=1787088330"},{"product_id":"spl-pq-mastering-edition","title":"SPL PQ Mastering Edition","description":"SPL is constantly pushing analog signal processing to its limits by combining the best possible components with perfectly optimized circuit design. As our latest achievement in this ongoing process, The \u003cspan style=\"font-weight: bold;\"\u003eSPL PQ Mastering Edition\u003c\/span\u003e pushes hitherto accepted limits of audio signal processing and combines truly unparalleled analog sound quality with the control and convenience of digital units. \u003cbr\u003e\u003cbr\u003e Further High Gain projects are in planning, including a microphone preamplifier and a compressor, although no availability projections can be made for these currently.","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":44449254441063,"sku":"5467","price":14154.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/spl_pq2050_1_1.jpg?v=1787088331"},{"product_id":"weiss-eq1-mk2","title":"Weiss EQ1-MK2 7-Band Equalizer","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MKII\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.\u003c\/p\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449254473831,"sku":"5491","price":11151.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_eq1_front_6.jpg?v=1787088330"},{"product_id":"weiss-eq1-lp","title":"Weiss EQ1-LP Equalizer","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MK2\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.\u003c\/p\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449254506599,"sku":"5492","price":17023.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss-eq1-front.jpg?v=1787088330"},{"product_id":"prism-sound-maselec-mea-2-mastering-equalizer","title":"Maselec MEA-2 Precision Stereo Mastering Equalizer","description":"\u003cp\u003eThe \u003cstrong\u003eMaselec MEA-2\u003c\/strong\u003e is a stereo or two-channel, four-band precision analog equalizer with variable Q\/shelf, frequency and cut\/boost controls on each band. The MEA-2 is designed for recording and mastering applications where ultimate sonic performance, musicality and precision are required.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eAPPLICATIONS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eTop recording and mastering engineers still use some analogue signal processing equipment, finding the familiar correlation between sound and control better to work with. However, most analogue equalizers have either continuously variable controls, making precise adjustments difficult, or just a few coarsely-stepped controls. Many fail to meet the standards of audio performance consistent with digital delivery media. The MEA-2 provides fully-stepped controls for precision and repeatability for all parameters.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MEA-2 is extensively used in mastering but also works well on an insertion point in recording or mixing. The MEA-2 has stepped controls with a fine 0.5dB gain adjustment at low cut\/boost settings. Maximum cut\/boost per band is 8dB.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MEA-2 is an equalizer that can provide precise equalization with minimal side-effects - it is designed to provide a very transparent signal path where only the desired equalization effect is obtained without adding any particular sonic signature.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003ePEDIGREE AND DESIGN PHILOSOPHY\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe MEA-2 was developed by Leif Mases in conjunction with recording engineers, producers and mastering engineers to provide a tool for high quality signal processing in the most demanding professional applications. It has been carefully designed to be easy to use and provide a natural warm sound with a great degree of transparency. The MEA-2 also offers precision controls, which enable exact recalls of previously used configurations.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eUSING THE MEA-2\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe MEA-2 is a very special Equalizer that has been designed to achieve a certain sound. It has a distinctive character, discernible both sonically and in the unique shape of its EQ curves. With 4 bands per channel, shelving\/peaking\/Q selection on each and 84 interleaved frequency settings per channel, the MEA-2 provides great flexibility and precision.\u003c\/p\u003e\r\n\r\n\u003cp\u003eWhen a cut\/boost control is set to 0 dB; the associated frequency section is by-passed Channel 1 and channel 2 can be by-passed individually with the illuminated push buttons on the front panel. The inputs and outputs can be connected to both balanced or unbalanced equipment and are able to handle up to +29 dBu levels.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MEA-2 provides the warmth, punch or air you need with a minimum of effort and without compromising the signal path. All critical components are hand selected and matched. Great sounding EQ is right behind the controls!\u003c\/p\u003e","brand":"Maselec","offers":[{"title":"Default Title","offer_id":44449254539367,"sku":"6577","price":8910.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maselec-mea-2-2024_6577_1.jpg?v=1787088331"},{"product_id":"inward-connections-deq-1","title":"Inward Connections DEQ-1","description":"\u003cp\u003eA very wide and high-bandwidth sound allows the \u003cstrong\u003eInward Connections DEQ-1 \u003c\/strong\u003eequalizer to shine in any application.  Recallable settings allow for ease of use and precise stereo imaging for mastering applications.  Six bands allows one to pinpoint every important frequency in the audible band.  Built using proprietary op-amps that lend the unit a subtle and interesting color while remaining accurate and true to the source.  Very musical and sweet sounding.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFeatures (per channel):\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLo-Band Shelving\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFrequency range: 15Hz to 500Hz\u003c\/li\u003e\n\u003cli\u003e+ 12dB level control\u003c\/li\u003e\n\u003cli\u003eIndividual ON switch\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eLo-Band\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFrequency range: 20Hz to 500Hz\u003c\/li\u003e\n\u003cli\u003e+ 12dB level control\u003c\/li\u003e\n\u003cli\u003eIndividual ON switch\u003c\/li\u003e\n\u003cli\u003eBand-width control\u003c\/li\u003e\n\u003cli\u003ePeaking and shelving switch\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMid Lo-Band\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFrequency range: 80Hz to 2KHz\u003c\/li\u003e\n\u003cli\u003e+ 12dB level control\u003c\/li\u003e\n\u003cli\u003eIndividual ON switch\u003c\/li\u003e\n\u003cli\u003eBand-width control Mid Hi-Band\u003c\/li\u003e\n\u003cli\u003eFrequency range: 300Hz to 7KHz\u003c\/li\u003e\n\u003cli\u003e+ 12dB level control\u003c\/li\u003e\n\u003cli\u003eIndividual ON switch\u003c\/li\u003e\n\u003cli\u003eBand-width control\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eHi-Band\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFrequency range: 1KHz to 20KHz\u003c\/li\u003e\n\u003cli\u003e+ 12dB level control\u003c\/li\u003e\n\u003cli\u003eIndividual ON switch\u003c\/li\u003e\n\u003cli\u003eBand-width control\u003c\/li\u003e\n\u003cli\u003ePeaking and shelving switch\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eHi-Band Shelving\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFrequency range: 1KHz to 20KHz\u003c\/li\u003e\n\u003cli\u003e+ 12dB level control\u003c\/li\u003e\n\u003cli\u003eHi-shelf ON switch\u003c\/li\u003e\n\u003cli\u003eMaster EQ OFF\/ON for all 6 Bands\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Inward Connections","offers":[{"title":"Default Title","offer_id":44449254637671,"sku":"7261","price":4195.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/inward_connections_deq_1_78f901bc-3fbc-4ea9-a5c7-dd7c1e743c1b.jpg?v=1787088330"},{"product_id":"great-river-maq-2nv","title":"Great River MAQ-2NV Stereo Mastering EQ","description":"\u003cp\u003e\u003cspan\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGreat River MAQ-2NV\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eis a stereo mastering equalizer based on the much-respected EQ-2NV. \u003cspan\u003e \u003c\/span\u003eThis two-rack-space digitally controlled analog parametric EQ offers similar topology to vintage 1081\/1083 models, but with welcome improvements. \u003cspan\u003e \u003c\/span\u003eNewly designed Class-A discrete single-ended amplifiers and true inductor\/capacitor (L\/C) circuitry add greater clarity and dynamic range to the musicality of the vintage-era models. \u003cspan\u003e \u003c\/span\u003eThe MAQ-2NV also has a discrete high-current Class-A balanced output stage. \u003cspan\u003e \u003c\/span\u003eBuilt to satisfy personal requests from mastering engineers who have heard the EQ-2NV, it features extended high and low frequency ranges, EQ gain switches, linkable channel control, and very low frequency high pass filters. \u003cspan\u003e \u003c\/span\u003eEach channel’s four EQ band gain switches range in ½ dB steps from 0 to +\/-3dB, and 1dB steps from +\/-3 to +\/- 8dB, and each band has separate pushbutton bypass switches. There are Left and Right channel bypass switches, the channel high pass filter frequencies are 15, 20, 25, 32, 40, and 50 Hz, and the Link switch sets both channels from the left channel controls for identical EQ curves. \u003cspan\u003e \u003c\/span\u003eAs in the EQ-2NV, the front panel input selector \/ sensitivity switch offers the option of using the signal from the MAQ-2NV's transformer-coupled line input (ranging from +8dbm to -20dbm), or the patched signal from an NV preamp or other device.\u003c\/span\u003e\u003c\/p\u003e","brand":"Great River Electronics","offers":[{"title":"Default Title","offer_id":44449254670439,"sku":"7684","price":4350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/great_river_maq_2nv.jpg?v=1787088331"},{"product_id":"api-5500-dual-equalizer","title":"API 5500 Dual-Channel Parametric Equalizer","description":"\u003cp\u003eThe beginnings of the \u003cstrong\u003eAPI 5500\u003c\/strong\u003e circuit can be traced back to the original 550 equalizer designed by Saul Walker, the founder of Automated Processes Inc. The 550 was designed as a console equalizer, which uses an unbalanced input due to the architecture of the recording console. Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited. The 5500 is specifically designed to address these limitations; it has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting and a range control that expands its versatility to mastering applications.\u003c\/p\u003e\r\n\r\n\u003cp\u003eTypical of API products, the 5500 contains no integrated circuits in its signal path. The gain comes from two hand-built 2520 Operational Amplifiers in each channel. The balanced input is handled by a 2510 Discrete Operational Amplifier, which is similar to the 2520, but without the high-current output stage. A key component of the API sound, the 2520 coupled with the API 2503 output transformer, is capable of delivering +30dBm before clipping.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAn extremely useful feature in the 5500 is the range control. The range of the amplitude controls can be reduced to 1\/2 or 1\/4 of their stated scale, providing a means to adjust the tonal balance with finer resolution in an even gentler manner. This is especially useful for complex program material as contained in stems or submixes and is ideally suited for mastering purposes.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAPI's 5500 also features a true hard-wire bypass which wires the output connector directly to the input. Shortly after the power is first applied, or immediately after it is lost, a special circuit enables \"bypass mode\" so that power thumps are never heard.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe 5500's input XLR is connected to an active balanced circuit. The unit's output XLR is driven from a transformer coupled output and can drive any load from 600 ohms or more to full output capability. There is no change from input to output in the unit's polarity, so it is suitable in studios using either pin 2 or pin 3 as the \"hot\" connection. Additionally, the 5500 has a 1\/4 inch input connector that interrupts any present signal on the input XLR. It is balanced and can be driven from either balanced or unbalanced sources. A positive signal on the tip will deliver a positive signal on pin 2 of the output XLR. Using the 1\/4 inch input does not bypass any internal circuitry and does not change the gain or operating levels.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe 5500 features API's industry exclusive five-year parts warranty and exhibits the reliability and long life characteristic of all API products.\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449254735975,"sku":"7694","price":3295.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_5500_1.jpg?v=1787088331"},{"product_id":"buzz-audio-req-2-2-mp","title":"Buzz Audio REQ-2.2 MP","description":"\u003cdiv\u003e\r\n\u003cp\u003eThe \u003cstrong\u003eBuzz Audio REQ\u003c\/strong\u003e is not a fully passive equalizer as such - each band has an amplifier associated with it and this approach ensure there is no interaction between bands.  Parallel resonant chokes and capacitors form the frequency selective part of each band and these are coupled into the amplifier stage via the boost\/cut control.  In order to keep the signal path as short as possible, each band includes an in\/out switch completely removing it from the chain if not required. \u003cbr\u003e\u003cbr\u003eMany other equalizers using passive filters have limited centre frequency choices, but the REQ boasts 72 different frequencies split over four bands per channel.  The high and low bands can be switched to bell or shelving mode and the two bell mid bands have two centre frequency ranges.  Each band has a bandwidth (Q) control and if the high or low bands are switched shelf mode, this control reverts to a shelf \"slope\" control.  In addition a passive high pass filter and a variable \"saturation\" module are provided.  The saturation module converts the REQ into a more \"vintage\" sounding unit by adding harmonics to the signal via the use of a steel audio transformer driven by a \"single ended\" old style Class A amplifier (see distortion specs below).  The low frequency response is also altered by the saturation control, depending on the position of this switch. \u003cbr\u003e\u003cbr\u003eThe REQ is available in two versions, a \u003ca class=\"bluelinks\" href=\"https:\/\/vintageking.com\/Buzz-Audio-REQ-2-2-Resonance-Equalizer-Standard\"\u003erecording (standard) version\u003c\/a\u003e with +\/-15dB continuously variable boost\/cut and a precision mastering version with 23 position stepped +\/-8dB boost\/cut with 0.5 and 1dB steps. All other controls on both versions are switched for repeatability.  The high pass filter of the mastering version offers smaller steps and varying filter slopes to that on the recording version. \u003cbr\u003e\u003cbr\u003eTaking a look inside the REQ chassis you will discover a very high level of engineering and build quality with single point power supply wiring, discrete power regulators for each band, reliable ITT rotary switches and Alps rotary boost\/cut pots (or Elma stepped attenuators in the Mastering version) - the list goes on and on. Click on the images above to see inside the Resonance Equalizer and discover for yourself why this product is truly unique! \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eApplications:\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eTracking and stereo mix bus equalisation\u003c\/li\u003e\r\n\u003cli\u003eAudio mastering and restoration\u003c\/li\u003e\r\n\u003cli\u003ePost production sound shaping\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eSpecifications:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFrequency Response\u003c\/strong\u003e\u003cbr\u003eMeasured with all eq bands ON set flat, Saturation and HPF OFF 5Hz to 125kHz +0.2\/-3dB \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eHarmonic Distortion\u003c\/strong\u003e\u003cbr\u003eAt +10dBu, Saturation OFF 100Hz 0.007%...1kHz 0.004%...10kHz 0.007%...100kHz 0.013%\u003cbr\u003eSaturation ON POS-1 20Hz 1.5%...100Hz 0.07%...1kHz and up 0.01%\u003cbr\u003eSaturation ON POS-2 20Hz 1.5%...100Hz 0.14%...1kHz and up 0.01%\u003cbr\u003eSaturation ON POS-3 20Hz 1.5%...100Hz 0.16%...1kHz and up 0.01%\u003cbr\u003eSaturation ON POS-4 20Hz 1.6%...100Hz 0.17%...1kHz and up 0.01%\u003cbr\u003eSaturation ON POS-5 20Hz 1.7%...100Hz 0.18%...1kHz and up 0.01%\u003cbr\u003eSaturation ON POS-6 20Hz 2.0%...100Hz 0.22%...1kHz and up 0.01%\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMaximum Input Level\u003c\/span\u003e +25dBu \u003cbr\u003e\u003cbr\u003e\u003cspan\u003eInput Impedance\u003c\/span\u003e approx 20k ohms \u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMaximum Output Level\u003c\/span\u003e +32dBu balanced…+26dBu unbalanced \u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOutput Impedance\u003c\/span\u003e approx 70 ohms \u003cbr\u003e\u003cbr\u003e\u003cspan\u003eInput Common Mode Rejection\u003c\/span\u003e (ref 0dBu) 100Hz -65dB…1kHz -65dB…10kHz -60dB \u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNoise\u003c\/span\u003e all bands ON set flat -110dB below max input level A weighted \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eGeneral:\u003c\/strong\u003e\u003cbr\u003ePower requirements 115V\/230V selectable on rear panel Dimensions 4U rack mount, 300mm deep\u003c\/p\u003e\r\n\u003c\/div\u003e","brand":"Buzz Audio","offers":[{"title":"Default Title","offer_id":44449254703207,"sku":"10506","price":7100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/buzz-audio-req-2-2mp_10506_1.jpg?v=1787088331"},{"product_id":"buzz-audio-req-2-2-me","title":"Buzz Audio REQ-2.2 ME Mastering Equalizer","description":"\u003cp\u003eThe \u003cstrong\u003eBuzz Audio REQ-2.2 ME Mastering Equalizer\u003c\/strong\u003e utilizes parallel resonant circuits in a clever configuration whereby the bandwidth (Q) of the circuit can be adjusted like an active filter, but without any complex relay switching. The inductor\/capacitor resonant \"tank\" EQ circuit runs at a low internal signal level which avoids any inductor saturation effects. The overall result is the sound of real choke based filters with a big open sound, but without the limitation of only a few - or no bandwidth selections as found on traditional choke EQs.\u003c\/p\u003e\r\n\u003cp\u003eMastering version includes a choke filter low band.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eAUDIO PATH QUALITY\u003c\/h3\u003e\r\n\u003cp\u003eAs you would expect, the REQ uses our BE40 True Class A circuits developed for the MA-2.2 microphone amplifier for superlative audio performance. It also utilizes our BE44 discrete line driver at the output that acts like a transformer and can respond to balanced or unbalanced loads.\u003c\/p\u003e\r\n\u003cp\u003eBut sometimes you might need a bit more color, so we have included a saturation section that introduces measured amounts of low frequency harmonic distortion via a steel audio transformer driven by a single ended transistor amplifier. The High Pass Filter is placed in the beginning of the EQ chain and the Low Band EQ section is placed last in the chain. This layout produces the best overall equalizer coherency.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eOPERATIONAL BEAUTY\u003c\/h3\u003e\r\n\u003cp\u003eThe large knobs and positive feel of the switching make the REQ a pleasure to operate and everything is visually clear when mounted into a console. In total there are 72 frequency choices per channel with overlapping selections across the four bands so you can always find the centre frequency you are looking for. A looping line XLR input and two parallel XLR outputs provide flexible connection options in the mastering control room. Finally, low glare rustic silver finish and retro Elma knobs give the REQ an impressive look in your rack!\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eCONTROLS AND FUNCTIONS\u003c\/h3\u003e\r\n\u003cp\u003eEach EQ band has a 12 position switch to select the FREQUENCY and another that selects the BANDWIDTH or shape of the bell shape curve (Q) which is adjustable from 1\/3 octave to 2 octaves wide. On the High and Low bands, the BANDWIDTH control reverts to shelf SLOPE control when SHELF mode is selected via the push button switch (but not with the Active Low Band option fitted). The Low and High Mid bands frequency range is changed to alternative selections when the FREQ x2.5 mode is selected. Each band also has an IN\/OUT switch removing the band completely from the signal path. The BOOST\/CUT control is a 23 position Elma switch with a range of ±8 dB, with 0.5 dB steps up to 3 dB then 1 dB steps to 8 dB. Custom ranges and steps can be supplied to special order.\u003c\/p\u003e","brand":"Buzz Audio","offers":[{"title":"Default Title","offer_id":44449254768743,"sku":"10970","price":8200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/buzz-audio-req-2-2me_10970_1.jpg?v=1787088331"},{"product_id":"kush-audio-ubk-clariphonic-parallel-equalizer","title":"Kush Audio UBK Clariphonic Parallel Equalizer","description":"\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eInstantly \u0026amp; effortlessly add pristine analog focus, detail, clarity, and air to any sound:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSilky top end presence and air coupled with subtle, tight low frequency enhancement\u003c\/li\u003e\n\u003cli\u003eInnovative interface allows for rapid experimentation with 16 possible filter combinations\u003c\/li\u003e\n\u003cli\u003eMeticulously tuned slopes and corners ensure fool-proof operation and stunning results\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFrom Gregory Scott aka UBK:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eClariphonic Parallel Equalizer\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eis a mastering grade, parallel shelving EQ matrix with a new filter shape that allows a single band to lift both the top and the bottom, simultaneously but asymmetrically. The top gets lifted at about a 3:1 ratio compared.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e The signal path is super minimal - it's primarily a capacitance network made up of Wima and Panasonic caps - but the switching architecture is extremely cool and allows for a lot of new possibilities. I wanted to create an EQ that was artistic and right-brain in nature, to get you to think about sound in terms of textures and colors rather than numbers.\u003cbr\u003e \u003cbr\u003e To that end, there are two engines per channel, the Focus Engine and the Clarity Engine, each of which can have one active band. I call them engines because they work on both ends of the spectrum despite being a single band. Anyway, there are four unique bands to choose from in each engine, each with its own slope and corner on top and bottom. So essentially it's a dual channel two-band EQ that behaves like a four-band hi\/low EQ, with eight available filter shapes per channel which, because of the switching network, can be configured in 16 possible combinations.\u003cbr\u003e \u003cbr\u003e Sonically, the filters are insanely smooth up top and do crazy cool things to the bottom, but the general idea is tighten\/define the lows and lift\/open the top with minimal coloration or phase smear. Each engine does that in its own way.\u003cbr\u003e \u003cbr\u003e The Focus Engine is more of a broad push that totally clears the mud from sounds, lifts them up and forward, and can be aggressive at max boost but is always easy on the ears; combined with the tight lows it brings a new level of detail and immediacy to the picture.\u003cbr\u003e \u003cbr\u003e The Clarity Engine works further out in the spectra, with the highest band's corners being somewhere in the 40hz area on the bottom and the 40k range up top (!). I've never heard air or shimmer like it. You have to be careful, the top on the Clarity Engine is like crack, it's highly addictive and really easy to do more than is wise because it always sounds good, it just takes the lid off the sound and opens it up. Use with caution!\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003e\u003cspan\u003eBut it gets better\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen your signal comes into the Clarity Control, it is passed full bandwidth to the output. It is also multed to each of the bands, and you use the gain control of each engine to blend that band in parallel with your original signal via an internal mix buss. This is very different than your typical console and channel EQ's, which pass your signal through each band in series, with each band doing its thing on the phase-altered signal of the band before it.\u003cbr\u003e \u003cbr\u003e The parallel mix architecture means the phase coherence of your signal remains completely intact, and the bands are blended in behind it. The effect is kind of holographic and super tight - no hash or harshness at all.\u003cbr\u003e \u003cbr\u003e What's really cool is that the full range signal and each engine all have their own mute switches, so you can listen to just one or both filters in isolation and hear exactly what you're grabbing. You can also leave the full-range killed and bring the Clarity Control back in parallel on your own console, where you can compress, saturate, or otherwise play with the high and low frequencies as their own entities. The creative possibilities here can't be overstated.\u003c\/span\u003e\u003c\/p\u003e","brand":"Kush Audio","offers":[{"title":"Default Title","offer_id":44449254801511,"sku":"13187","price":1199.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/kush_clariphonic_eq_front_2.jpg?v=1787088331"},{"product_id":"weiss-upgrade-from-eq1-or-eq1mk2-to-eq1-lp","title":"Weiss Upgrade from EQ1 or EQ1MK2 to EQ1-LP","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MK2\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.\u003c\/p\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449303461991,"sku":"9645","price":5943.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_eq1_front_5.jpg?v=1787088474"},{"product_id":"weiss-upgrade-from-eq1-or-eq1mk2-to-eq1-dyn","title":"Weiss Upgrade from EQ1 or EQ1MK2 to EQ1-DYN","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MK2\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.\u003c\/p\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449303560295,"sku":"9646","price":5926.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_eq1_front_3_4cd816c0-2647-4ca0-b821-c229bc781ff4.jpg?v=1787088474"},{"product_id":"weiss-upgrade-from-eq1-or-eq1mk2-to-eq1-dyn-lp","title":"Weiss Upgrade from EQ1 or EQ1MK2 to EQ1-DYN-LP","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MK2\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.\u003c\/p\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449304117351,"sku":"9816","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_eq1_front_4.jpg?v=1787088477"},{"product_id":"weiss-sidegrade-from-eq1-lp-or-eq1-dyn-to-eq1-dyn-lp","title":"Weiss Sidegrade from EQ1-LP or EQ1-DYN to EQ1-DYN-LP","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MK2\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. 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The Dangerous Music BAX EQ is the first professional, stand-alone EQ to use the famous Baxandall curves, and Dangerous's version – designed by their own legendary designer Chris Muth – has become an instant classic among mixing, mastering and tracking engineers. It’s so loved, in fact, that most are leaving it patched into their audio path full time where it sweetens and deepens all kinds of music…day in, day out, all year long.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eBIG MOVES AND BROAD STROKES\u003c\/h3\u003e\r\n\u003cp\u003eAt the heart of this stereo unit are gently sweeping treble and bass EQ shelves (the Baxandall Curves) that give you subtle yet profound control over wide sections of the frequency spectrum. The opposite of a surgical tool, the BAX EQ is all about sweetening sounds with broad, musical adjustments. Starting far below and above the human hearing limit, the broad and gentle EQ curves gently tug at the audible frequencies in ways that other EQs cannot. This unique design provides a distinctively sweet and open treble along with a powerful and three-dimensional low-end you simply can’t get out of other EQs.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eTHE PARADOX OF TRANSPARENCY\u003c\/h3\u003e\r\n\u003cp\u003eThe bass and treble shelves found on most professional EQs introduce phase delay and other audible artifacts, sometimes called “color.” The BAX EQ’s shelves maintain phase coherence, and — because it is built from the same ultra-high-grade components Dangerous uses in all their equipment — the BAX EQ does not change the characteristics of the original sound. This is the ineffable paradox of real analog transparency: you have the ability to make powerful changes without substantially altering the original sonic characteristics. Rather than adding more color, you’ll hear the original colors more beautifully, more openly and more powerfully, no matter how far you push it.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eSOPHISTICATED FILTERING\u003c\/h3\u003e\r\n\u003cp\u003eBeyond the easy-to-use shelf controls, the BAX EQ is equipped with sophisticated filtering options that vastly expand its versatility. The cut filters on either end of the spectrum dial out unneeded frequencies that will be boosted at the far end of the shelves. On the low end, you can cut below 12 Hz, where headroom-eating, infrasonic rumble and DC-offset live. On the high end, you can dial out ultra-sonics like 70 kHz that can carry out-of-band noise that translates as harshness in many A\/D converters. And when you start playing the cut filters against the shelves, a whole world of unique tone-shaping opens up within the audible frequency band – sounds you wont get anywhere else.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eEFFORTLESS RESULTS FOR TRACKING, MIXING \u0026amp; MASTERING\u003c\/h3\u003e\r\n\u003cp\u003eIn a category all its own, the BAX EQ will compliment any studio configuration. Outstanding in a mastering rig, on a whole mix or in any tracking chain, the BAX EQ lets you effortlessly sweeten and deepen any music — like the best bass-treble controls you’ve ever used.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_4\"\u003eTHE DANGEROUS PHILOSOPHY EMBODIED\u003c\/h3\u003e\r\n\u003cp\u003eAs with all of their products, the Bax EQ incorporates a sophisticated circuit design, uncompromising quality, and is elegantly straightforward to use.\u003c\/p\u003e","brand":"Dangerous Music","offers":[{"title":"Default Title","offer_id":44449328037991,"sku":"13198","price":3299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dangerous-bax-eq_13198_2.jpg?v=1787088571"},{"product_id":"sontec-mep-250ex","title":"Sontec MEP-250EX 2-Channel Parametric EQ","description":"\u003cp\u003eThe \u003cstrong\u003eSontec MEP-250EX\u003c\/strong\u003e is the modernized version of Burgess MacNeal's classic MEP-250C parametric EQ design. 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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":"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. 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This two-rack-space digitally controlled analog parametric EQ offers similar topology to vintage 1081\/1083 models, but with welcome improvements. Newly designed Class-A discrete single-ended amplifiers and true inductor\/capacitor (L\/C) circuitry add greater clarity and dynamic range to the musicality of the vintage-era models. The MAQ-2NV also has a discrete high-current Class-A balanced output stage. Built to satisfy personal requests from mastering engineers who have heard the EQ-2NV, it features extended high and low frequency ranges, EQ gain switches, linkable channel control, and very low frequency high pass filters. Each channel’s four EQ band gain switches range in ½ dB steps from 0 to +\/-3dB, and 1dB steps from +\/-3 to +\/- 8dB, and each band has separate pushbutton bypass switches. There are Left and Right channel bypass switches, the channel high pass filter frequencies are 15, 20, 25, 32, 40, and 50 Hz, and the Link switch sets both channels from the left channel controls for identical EQ curves. As in the EQ-2NV, the front panel input selector \/ sensitivity switch offers the option of using the signal from the MAQ-2NV's transformer-coupled line input (ranging from +8dbm to -20dbm), or the patched signal from an NV preamp or other device.","brand":"Great River Electronics","offers":[{"title":"Default Title","offer_id":44449363034215,"sku":"13931","price":3499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/great_river_maq_2nv_1.jpg?v=1787088714"},{"product_id":"inward-connections-deq-1-demo-deal","title":"Inward Connections DEQ-1 (Demo Deal)","description":"\u003cp\u003eA very wide and high-bandwidth sound allows the Inward Connections DEQ-1 equalizer to shine in any application. Recallable settings allow for ease of use and precise stereo imaging for mastering applications. Six bands allows one to pinpoint every important frequency in the audible band. Built using proprietary op-amps that lend the unit a subtle and interesting color while remaining accurate and true to the source. 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To my ears the top gets lifted at about a 3:1 ratio compared to the bottom, but I have yet to test it to see what the proportions actually are. \u003cbr\u003e\u003cbr\u003e The signal path is super minimal --- it's primarily a capacitance network made up of Wima and Panasonic caps --- but the switching architecture is extremely cool and allows for a lot of new possibilities. I wanted to create an eq that was artistic and right-brain in nature, to get you to think about sound in terms of textures and colors rather than numbers.\u003cbr\u003e\u003cbr\u003eTo that end, there are 2 engines per channel, the Focus Engine and the Clarity Engine, each of which can have 1 active band. I call them engines because they work on both ends of the spectrum despite being a single band. Anyway, there are 4 unique bands to choose from in each engine, each with its own slope and corner on top and bottom. So essentially it's a dual channel 2-band eq that behaves like a 4-band hi\/low eq, with 8 available filter shapes per channel which, because of the switching network, can be configured in 16 possible combinations.\u003cbr\u003e\u003cbr\u003eSonically, the filters are insanely smooth up top and do crazy cool things to the bottom, but the general idea is tighten\/define the lows and lift\/open the top with minimal coloration or phase smear. Each engine does that in its own way.\u003cbr\u003e\u003cbr\u003eThe Focus Engine is more of a broad push that totally clears the mud from sounds, lifts them up and forward, and can be aggressive at max boost but is always easy on the ears; combined with the tightass lows it brings a new level of detail and immediacy to the picture.\u003cbr\u003e\u003cbr\u003eThe Clarity Engine works further out in the spectra, with the highest band's corners being somewhere in the 40hz area on the bottom and the 40k range up top (!). I've never heard air or shimmer like it. You have to be careful, the top on the Clarity Engine is like crack, it's highly addictive and really easy to do more than is wise because it always sounds good, it just takes the lid off the sound and opens it up. Use with caution!\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eBut it gets better\u003c\/span\u003e\u003cbr\u003eWhen your signal comes into the Clarity Control, it is passed full bandwidth to the output. It is also multed to each of the bands, and you use the gain control of each engine to blend that band in parallel with your original signal via an internal mix buss. This is very different than your typical console and channel eq's, which pass your signal thru each band in series, with each band doing its thing on the phase-altered signal of the band before it.\u003cbr\u003e\u003cbr\u003eThe parallel mix architecture means the phase coherence of your signal remains completely intact, and the bands are blended in behind it. The effect is kinda holographic and super tight, no hash or harshness at all.\u003cbr\u003e\u003cbr\u003eWhat's really cool is that the fullrange signal and each engine all have their own mute switches, so you can listen to just one or both filters in isolation and hear exactly what you're grabbing. You can also leave the full-range killed and bring the Clarity Control back in parallel on your own console, where you can compress, saturate, or otherwise play with the high and low freqs as their own entities. The creative possibilities here can't be overstated.","brand":"Kush Audio","offers":[{"title":"Default Title","offer_id":44449363656807,"sku":"16656","price":1079.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/kush_clariphonic_eq_front_1.jpg?v=1787088717"},{"product_id":"manley-slam-mastering-version-demo-deal","title":"Manley SLAM! - Mastering Version (Demo Deal)","description":"Proudly from our beginning, we at MANLEY LABS have been closely involved with numerous mastering facilities around the world. For these most demanding engineers in our industry, we have created specialised products such as our all-tube tape repro head amps, digital converters, high-powered vacuum tube monitor amplifiers, through to custom monitoring consoles, all the way up to complete facility design and installation. \u003cbr\u003e\u003cbr\u003e The Mastering Version of the SLAM! incorporating detented and logable 1\/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is in full production.","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449364312167,"sku":"14731","price":5475.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley_slam_mastering_1_1.jpg?v=1787088720"},{"product_id":"api-5500-dual-equalizer-demo-deal","title":"API 5500 Dual Equalizer (Demo Deal)","description":"\u003cp\u003eThe lineage of the \u003cspan style=\"font-weight: bold;\"\u003eAPI 5500\u003c\/span\u003e circuit can be traced back to the original 550 equalizer designed by Saul Walker, the founder of Automated Processes Inc.  The 550 was designed as a console equalizer which, due to the architecture of the recording console, uses an unbalanced input.  Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited.  The 5500 is specifically designed to address these limitations.  It has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting and a range control that expands it versatility to mastering applications.\u003cbr\u003e\u003cbr\u003eLike all API products, the 5500 contains no integrated circuits in its signal path.  The gain comes from two hand-built 2520 operational amplifiers in each channel. The balanced input is handled by a 2510 discrete operational amplifier, which is similar to the 2520, but without the high current output stage.  Besides being a key component of the API sound, the 2520 coupled with the API 2503 output transformer is capable of delivering +30dBm before clipping.  With this much headroom, it is unlikely that the 5500 can be driven to distortion unless perhaps another API unit is driving the input!\u003cbr\u003e\u003cbr\u003eA new feature in the 5500 is the range control.  The range of the amplitude controls can be reduced to 1\/2 or 1\/4 of their stated scale, providing a means of adjusting the tonal balance with finer resolution in an even gentler manner.  This should be especially useful for complex program material as contained in stems or submixes, and is ideally suited for mastering purposes.\u003cbr\u003e\u003cbr\u003eAlso new on the 5500 is a true hard-wire bypass.  In this mode the output connector is wired directly to the input.  Shortly after the power is first applied, or immediately after it is lost, a special circuit enables bypass mode so signal is never lost and power thumps are never heard.\u003cbr\u003e\u003cbr\u003eThe input XLR is connected to an active balanced circuit.  The output XLR is driven from a transformer coupled output and can drive any load from 600 ohms or greater to full output capability.  The polarity is such that there is no change from input to output, so it is suitable in studios using either pin 2 or pin 3 as the \"hot\" connection.  In addition, there is a 1\/4\" input connector that interrupts any signal that is present on the input XLR.  It is balanced and can be driven from either balanced or unbalanced sources.  A positive signal on the tip will deliver a positive signal on pin 2 of the output XLR.  Using the 1\/4\" input does not bypass any internal circuitry and does not change gain or operating level.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eClassic 550B equalizer design\u003c\/li\u003e\n\u003cli\u003etwo range switches individually alter gain steps\u003c\/li\u003e\n\u003cli\u003eUseable as a 550B, 550D or 550M\u003c\/li\u003e\n\u003cli\u003ePeak\/shelf switch on hi \u0026amp; lo bands\u003c\/li\u003e\n\u003cli\u003eTrue hardwire bypass\u003c\/li\u003e\n\u003cli\u003eBalanced in and out on XLR\u003c\/li\u003e\n\u003cli\u003eUnbalanced Input on 1\/4\"\u003c\/li\u003e\n\u003cli\u003eEQ in\/out switch\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449385840743,"sku":"18480","price":2959.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_5500_1_1.jpg?v=1787088805"},{"product_id":"sontec-mep-250ex-demo-deal","title":"Sontec MEP-250EX (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eSontec MEP-250EX\u003c\/strong\u003e is the modernized version of Burgess MacNeal's classic MEP-250C parametric EQ design. One of the first fully parametric EQ's and still one of the best sounding and most versatile. The little brother of the extremely highly regarded 430 mastering series, the MEP-250EX brings mastering grade performance at a cost 1\/3 of the fully detented units. The high end is sweet and the low frequencies tight and punchy. Call your Vintage King rep today and ask for a demo of this amazing and versatile equalizer.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eNote:\u003c\/strong\u003e Cosmetic condition may vary.\u003c\/p\u003e","brand":"Sontec","offers":[{"title":"Default Title","offer_id":44449386299495,"sku":"18549","price":2899.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/sontec_mep-250x_1_1.jpg?v=1787088807"},{"product_id":"weiss-upgrade-from-eq1-to-eq1mk2","title":"Weiss Upgrade from EQ1 to EQ1MK2","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MKII\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.\u003c\/p\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449438269543,"sku":"9643","price":3984.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_eq1_front_7_367ae599-534a-44ee-ac3e-21eb22f99e45.jpg?v=1787088957"},{"product_id":"pultec-eqp-1-1863-used","title":"Pultec EQP-1 #1863 (Vintage)","description":"\u003cp\u003eClassic lo\/hi tube EQ in very nice shape. Originally used at  CBS Radio-Los Angeles, then owned for years by Jim Messina\/Loggins \u0026amp; Messina.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cbr\u003eThe EQ settings are:\u003cbr\u003e\u003cbr\u003eLow Band Frequencies 30Hz, 60Hz, 100Hz\u003cbr\u003eLow Band Boost 0 to 13.5 dB boost\u003cbr\u003eLow Band Attenuation 0 to 17.5 dB cut\u003cbr\u003e\u003cbr\u003eHigh Bell Frequencies 3kHz, 5kHz, 8kHz, 10kHz, 12kHz\u003cbr\u003eHigh Bell Boost 0 to 18 dB boost\u003cbr\u003eHigh Bell Bandwidth (Q) 0 to 10 (0=sharp 10=wide)","brand":"Pultec","offers":[{"title":"Default Title","offer_id":44449461567591,"sku":"25951","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_pultec_eqp-1__1863_687f667c-94e1-41ba-8748-93c9e0224ac1.jpg?v=1787089050"},{"product_id":"pultec-eqp-1rs-561-used","title":"Pultec EQP-1RS #561(Vintage)","description":"Vintage lo\/hi tube program eq, a variation on the classic EQP-1A, with different eq points. \u003cbr\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSettings:\u003cbr\u003e\u003c\/p\u003eBoost\/cut from 0 to 10db at:\u003cbr\u003eLow frequencies: 30, 60, 100 Hz\u003cbr\u003eHigh frequencies: 3, 5, 8, 10, 12, KHz\u003cbr\u003e\u003cbr\u003eQ width from 0 to 10 (sharp to Broad)\u003cbr\u003eHigh frequency shelving at: 3, 5, 8, 10, 12 Khz","brand":"Pultec","offers":[{"title":"Default Title","offer_id":44449461633127,"sku":"13722","price":3750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_pultec_eqp-1rs__561_11b19e76-032e-45f9-a0f6-0e8e05ee36d8.jpg?v=1787089050"},{"product_id":"gml-8200-parametric-eq-3466-used","title":"GML 8200 Parametric EQ #3466 (used)","description":"\u003cp\u003eExcellent condition unit, with GML 8355 PSU.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eGML 8200 Parametric Equalizer\u003c\/strong\u003e is the reference standard parametric EQ from the engineer who invented the concept. The 8200 is a fifth generation progressive design, the result of ten years of creation and precise listening analysis. Incorporating the the exclusive GML op-amp, this unit has no tantalum or electrolytic interstage or output coupling capacitors. The result is the most natural of equalizers, with minimum artifacts and signal modification. This is an all-discrete-transistor unit, and is useful in many stages of the recording process and highly regarded for it's extraordinary resolution, transparency, high headroom, broadly overlapping bands and ease of use.\u003c\/p\u003e","brand":"GML","offers":[{"title":"Default Title","offer_id":44449480966247,"sku":"29508","price":3895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_gml_8200_parametric_eq__3466_c2483dcb-458a-4032-91d1-f04ba4534a55.jpg?v=1787089122"},{"product_id":"weiss-eq1-dyn-lp-combo-demo-deal","title":"Weiss EQ1-DYN-LP Combo (Demo Deal)","description":"The \u003cb\u003eWeiss EQ1\u003c\/b\u003e is available in four different configurations. All of them work at 24\/96. The basic model is the \u003cb\u003eEQ1MK2\u003c\/b\u003e, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. \u003cbr\u003e \u003cp\u003e\u003cb\u003eHere are the main features common to all four models:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eSeven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost\/Cut, Frequency and Q\/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. \u003c\/li\u003e\n\u003cli\u003eOne parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. \u003c\/li\u003e\n\u003cli\u003eLarge, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. \u003c\/li\u003e\n\u003cli\u003eA\/B compare memory, 128 snapshot bank with two additional banks for back-up. \u003c\/li\u003e\n\u003cli\u003eDigital input \/ output in AES\/EBU format on XLR connectors. \u003c\/li\u003e\n\u003cli\u003eDithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. \u003c\/li\u003e\n\u003cli\u003e128 steps for boost\/cut, frequency and Q parameters. \u003c\/li\u003e\n\u003cli\u003eVariable slope shelving filters. \u003c\/li\u003e\n\u003cli\u003eVery high Q (up to 650) for notching out offending frequencies. \u003c\/li\u003e\n\u003cli\u003eM\/S mode for independent equalization of M and S channels. M\/S encoder \/ decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon \u003c\/li\u003e\n\u003cli\u003ePeak meter, over indicators. \u003c\/li\u003e\n\u003cli\u003eMIDI control for each parameter. \u003c\/li\u003e\n\u003cli\u003eBypass, overall gain, CH1\/2 independent or ganged.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp\u003e \u003cfont size=\"3\" face=\"Verdana, Arial, Helvetica, sans-serif\"\u003e\u003cstrong\u003eConfiguration Options\u003c\/strong\u003e\u003c\/font\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eEQ1-MK2\u003cbr\u003e\u003c\/b\u003eThe EQ1-MK2 is the base model and offers all of the above features.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-LP, the EQ1-MK2 with linear phase response\u003c\/b\u003e\u003cbr\u003eThe EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.\u003c\/p\u003e \u003cp\u003eThe impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.\u003c\/p\u003e \u003cp\u003eThe sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.\u003c\/p\u003e \u003cp\u003eThe linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN, the EQ1-MK2 with four dynamic bands\u003c\/b\u003e\u003cbr\u003eFor the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.\u003cbr\u003eYou adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMulti-band dynamic? Or dynamic multi-band?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit\u003c\/b\u003e\u003cbr\u003eThe EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. \u003c\/p\u003e \u003cp\u003eThe workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.\u003c\/p\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449482342503,"sku":"9166","price":7750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_eq1_front_1_1_9e6ae37d-d335-4e87-8922-2b7705c6fd2c.jpg?v=1787089127"},{"product_id":"manley-massive-passive-mastering-version-used","title":"Manley Massive Passive - Mastering Version (Used)","description":"\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eFrequency settings:\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eLow - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1K\u003c\/li\u003e\n\u003cli\u003eLow Mids - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9\u003c\/li\u003e\n\u003cli\u003eHigh Mids - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10K\u003c\/li\u003e\n\u003cli\u003eHigh - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 18K, 27K \u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003eFeatures\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e    All-Passive tone sculpting circuitry\u003c\/li\u003e\n\u003cli\u003e    Unique Shelf curves use the \"bandwidth\" control\u003c\/li\u003e\n\u003cli\u003e    Overlapping and Interleaved Frequency choices\u003c\/li\u003e\n\u003cli\u003e    Every band switchable to shelf or bell\u003c\/li\u003e\n\u003cli\u003e    Vacuum tube make-up gain and line drivers\u003c\/li\u003e\n\u003cli\u003e    Parallel symmetrical topology\u003c\/li\u003e\n\u003cli\u003e    Premium components throughout\u003c\/li\u003e\n\u003cli\u003e    HP and LP Filters plus gain trims \u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003eSpecs:\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e    Ins \u0026amp; Outs Balanced XLR \u0026amp; 1\/4\" (accepts unbalanced)\u003c\/li\u003e\n\u003cli\u003e    Level +4 dBu nominal, internal switches for -10 operation\u003c\/li\u003e\n\u003cli\u003e    Bypass Switch bypasses EQ \u0026amp; tube circuits (not hardwire)\u003c\/li\u003e\n\u003cli\u003e    44 Frequencies (roughly 1\/4 octave spacing)\u003c\/li\u003e\n\u003cli\u003e    Frequency Range: 22 Hz to 27 Khz\u003c\/li\u003e\n\u003cli\u003e    EQ Boost\/Cut Range : Maximum 11dB boost or cut\u003c\/li\u003e\n\u003cli\u003e    Nominal Q range: 1.5 to 3 (uniquely active in shelf modes)\u003c\/li\u003e\n\u003cli\u003e    Frequency Response: +\/- 2 dB: 8 Hz to 60 KHz\u003c\/li\u003e\n\u003cli\u003e    Maximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 Hz\u003c\/li\u003e\n\u003cli\u003e    THD \u0026amp; Noise (1KHz @ +4 dBu): 0.06%\u003c\/li\u003e\n\u003cli\u003e    Noise Floor (referred to +4dBu): -85 dB (A Weight)\u003c\/li\u003e\n\u003cli\u003e    Dynamic Range: 120 dB\u003c\/li\u003e\n\u003cli\u003e    Tube Complement: 2 x 12AU7, 4 x 6414\u003c\/li\u003e\n\u003cli\u003e    Power Consumption (120\/240VAC): 72 watts\u003c\/li\u003e\n\u003cli\u003e    Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.\u003c\/li\u003e\n\u003cli\u003e    Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.\u003c\/li\u003e\n\u003cli\u003e    Mains Voltage Frequency: 50~ 60Hz\u003c\/li\u003e\n\u003cli\u003e    Size (3U): 19\" x 5.25\" x 10\"\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449494237287,"sku":"19182","price":4300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_19182_1_f7421f63-0fc8-4162-8810-17a2459bfc83.jpg?v=1787089193"},{"product_id":"avalon-ad2077-mastering-equalizer-used","title":"Avalon AD2077 Mastering Equalizer (Used)","description":"The AD2077 mastering equalizer is an ultraistic design optimizing absolute signal integrity. Design features include 100% discrete pure class A signal amplifiers, state-of-the-art passive and active filter topologies and a DC coupled minimalist signal path. These unique designs offer the professional mastering engineer alternate tone selections in both filter domains while delivering the highest resolution and wide dynamic range with very low noise. Custom gold rotary switches give accuracy in 0.5dB, 1dB and 2dB steps. 104 switched frequencies per channel with X I0 range selectors provide frequency selections from 12Hz to 25kHz at 1\/4 octave intervals. The Avalon AD2077 mastering equalizer is the most musically transparent analog EQ available today!\u003cbr\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e","brand":"Avalon Design","offers":[{"title":"Default Title","offer_id":44449500102759,"sku":"30525","price":7095.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_avalon_ad2077_mastering_equalizer_20ee5a08-778d-4123-9bc7-c3a66a752747.jpg?v=1787089219"},{"product_id":"manley-mid-frequency-eq-mastering-version-used","title":"Manley Mid Frequency EQ Mastering Version (Used)","description":"Very clean used example of this unit. Serviced, 6 month warranty.\u003cbr\u003e\u003cp\u003eThe \u003cb\u003eManley Mid Frequency EQ\u003c\/b\u003e is especially useful for midband oriented instruments such as guitars, vocals, harmonicas, and violins, the Mid Frequency Enhanced Pultec EQ (MEQ-5 type) shares the same features and specifications as our ‘EQP-1A’ version. The differences lie in the passive EQ section: In the MID EQ, the Dip and Peak controls function on much sharper bell-shaped curves centered on the selected frequencies, which gives the engineer-producer more precise control over the vitally important midrange and makes this unit indispensable for mastering engineers. The MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of our Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering. \u003c\/p\u003e\u003cbr\u003e The Manley Mid Frequency EQ (1 Channel) Features: \u003cul\u003e \u003cli\u003e MANLEY input transformer with pure nickel laminations potted in mu-metal case. 3K ohm input Z \u003c\/li\u003e\n\u003cli\u003e PHASE REVERSE switch for balanced XLR input \u003c\/li\u003e\n\u003cli\u003e Alternate transformerless 1\/4\" HI-Z (5K ohm) input \u003c\/li\u003e\n\u003cli\u003e BYPASS switch \u0026amp; AUTO-MUTE w\/warmup delay \u003c\/li\u003e\n\u003cli\u003e Silent conductive plastic PEAK \u0026amp; SHELF controls \u003c\/li\u003e\n\u003cli\u003e Sealed gold-contact Greyhill frequency select switches \u003c\/li\u003e\n\u003cli\u003e Hi-current drive \u0026lt;50 ohm LO-Z XLR \u0026amp; 1\/4\" outputs \u003c\/li\u003e\n\u003cli\u003e Balanced Transformer Coupled XLR Outputs \u003c\/li\u003e\n\u003cli\u003e Flat frequency response from 10Hz-70KHz \u003c\/li\u003e\n\u003cli\u003e \u0026lt;0.01% THD @ 1Khz \u003c\/li\u003e\n\u003cli\u003e S\/N Ratio: 116 dB \u003c\/li\u003e\n\u003cli\u003e Adjustable FEEDBACK \/ GAIN: Unity ±5 dB \u003c\/li\u003e\n\u003cli\u003e Max. output: +30 dBv \u003c\/li\u003e\n\u003cli\u003e Power consumption (120\/240VAC): 18 watts \u003c\/li\u003e\n\u003cli\u003e Dimensions: 19\" x 1 3\/4\" x 10\" (occupies 1u) \u003c\/li\u003e\n\u003cli\u003e Shipping weight: 12 lbs. \u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449525497959,"sku":"29039","price":1165.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/use_manley_mid_frequency_eq_mastering_cat_c52e580f-8637-4e9b-968e-9208c0f47f78.jpg?v=1787089316"},{"product_id":"manley-massive-passive-used","title":"Manley Massive Passive (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eManley Massive Passive\u003c\/strong\u003e is a two channel, four band equalizer, with additional high pass and low pass filters. \"Passive\" refers to the tone shaping part of this clever new EQ design, not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound, kinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm.\u003cbr\u003e\u003cbr\u003eFeatures:\u003cbr\u003e\u003cbr\u003e• All-Passive tone sculpting circuitry \u003cbr\u003e• Unique Shelf curves use the \"bandwidth\" control \u003cbr\u003e• Overlapping and Interleaved Frequency choices \u003cbr\u003e• Every band switchable to shelf or bell \u003cbr\u003e• Vacuum tube make-up gain and line drivers \u003cbr\u003e• Parallel symmetrical topology \u003cbr\u003e• Premium components throughout \u003cbr\u003e• HP and LP Filters plus gain trims \u003cbr\u003e\u003cbr\u003eSPECIFICATIONS: \u003cbr\u003e\u003cbr\u003e• Ins \u0026amp; Outs Balanced XLR \u0026amp; 1\/4\" (accepts unbalanced) \u003cbr\u003e• Level +4 dBu nominal, internal switches for -10 operation \u003cbr\u003e• Bypass Switch bypasses EQ \u0026amp; tube circuits (not hardwire) \u003cbr\u003e• 44 Frequencies (roughly 1\/4 octave spacing) \u003cbr\u003e• Frequency Range: 22 Hz to 27 Khz \u003cbr\u003e• EQ Boost\/Cut Range : 20 dB boost, 20 dB cut \u003cbr\u003e• Nominal Q range: 1.5 to 3 (uniquely active in shelf modes) \u003cbr\u003e• Frequency Response: +\/- 2 dB: 8 Hz to 60 KHz \u003cbr\u003e• Maximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 Hz \u003cbr\u003e• THD \u0026amp; Noise (1KHz @ +4 dBu): 0.06% \u003cbr\u003e• Noise Floor (referred to +4dBu): -85 dB (A Weight) \u003cbr\u003e• Dynamic Range: 120 dB \u003cbr\u003e• Tube Complement: 2 x 12AX7EH, 4 x 6414 for serial MSMPX### after 2\/2004\u003cbr\u003e• Tube Complement: 2 x 5751, 4 x 6414 for serial MSMP### until 2\/2004\u003cbr\u003e• Power Consumption (120\/240VAC): 72 watts \u003cbr\u003e• Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.\u003cbr\u003e• Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.\u003cbr\u003e• Mains Voltage Frequency: 50~ 60Hz \u003cbr\u003e• Size (3U): 19\" x 5.25\" x 10\"\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449525530727,"sku":"15362","price":3395.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_manley_massive_passive__806_cat_124115d5-0b18-4dd2-b89b-03c1994e2fb9.jpg?v=1787089316"},{"product_id":"gml-8200-parametric-eq-used","title":"GML 8200 Parametric EQ (Used)","description":"The \u003cb\u003eGML 8200\u003c\/b\u003e Parametric Equalizer is the reference standard parametric EQ from the engineer who invented the concept. The 8200 is a fifth generation progressive design, the result of ten years of creation and precise listening analysis. Incorporating the the exclusive GML op-amp, this unit has no tantalum or electrolytic interstage or output coupling capacitors. The result is the most natural of equalizers, with minimum artifacts and signal modification. This is an all-discrete-transistor unit, and is useful in many stages of the recording process and highly regarded for it's extraordinary resolution, transparency, high headroom, broadly overlapping bands and ease of use.\t\u003cbr\u003e\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. \u003c\/p\u003e","brand":"GML","offers":[{"title":"Default Title","offer_id":44449525858407,"sku":"20930","price":4195.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_gml_8200_parametric_eq_cat_a20fc367-c71a-46fb-9c4b-40834ddb4a53.jpg?v=1787089317"},{"product_id":"tk-audio-tk-lizer","title":"TK Audio Tk-lizer 2 Mastering EQ with M\/S Function","description":"\u003cp\u003eThe \u003cstrong\u003eTK Audio TK-lizer 2\u003c\/strong\u003e is a Baxandall type of EQ, high and low bands are selectable between shelving or peak, very useful for tuning of your low’s, mid’s and high’s. The TK-lizer 2 also has a built-in M\/S function which let you process the mid and side signals separately. You can also affect the stereo width of your music by using the level controls in M\/S mode.\u003c\/p\u003e","brand":"TK Audio","offers":[{"title":"Default Title","offer_id":44449536704615,"sku":"32679","price":1699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/tk-audio-tk-lizer-2_32679_1_08f27616-67cb-4d13-87b5-9e24251574f6.jpg?v=1787089361"},{"product_id":"buzz-audio-req-2-2-me-demo-deal","title":"Buzz Audio REQ-2.2 ME (Demo Deal)","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eBuzz Audio REQ\u003c\/span\u003e is not a fully passive equalizer as such - each band has an amplifier associated with it and this approach ensure there is no interaction between bands.  Parallel resonant chokes and capacitors form the frequency selective part of each band and these are coupled into the amplifier stage via the boost\/cut control.  In order to keep the signal path as short as possible, each band includes an in\/out switch completely removing it from the chain if not required. \u003cbr\u003e\u003cbr\u003e Many other equalizers using passive filters have limited centre frequency choices, but the REQ boasts 72 different frequencies split over four bands per channel.  The high and low bands can be switched to bell or shelving mode and the two bell mid bands have two centre frequency ranges.  Each band has a bandwidth (Q) control and if the high or low bands are switched shelf mode, this control reverts to a shelf \"slope\" control.  In addition a passive high pass filter and a variable \"saturation\" module are provided.  The saturation module converts the REQ into a more \"vintage\" sounding unit by adding harmonics to the signal via the use of a steel audio transformer driven by a \"single ended\" old style Class A amplifier (see distortion specs below).  The low frequency response is also altered by the saturation control, depending on the position of this switch. \u003cbr\u003e\u003cbr\u003e The REQ is available in two versions, a \u003ca class=\"bluelinks\" href=\"https:\/\/vintageking.com\/Buzz-Audio-REQ-2-2-Resonance-Equalizer-Standard\"\u003erecording (standard) version\u003c\/a\u003e with +\/-15dB continuously variable boost\/cut and a precision mastering version with 23 position stepped +\/-8dB boost\/cut with 0.5 and 1dB steps. All other controls on both versions are switched for repeatability.  The high pass filter of the mastering version offers smaller steps and varying filter slopes to that on the recording version. \u003cbr\u003e\u003cbr\u003e Taking a look inside the REQ chassis you will discover a very high level of engineering and build quality with single point power supply wiring, discrete power regulators for each band, reliable ITT rotary switches and Alps rotary boost\/cut pots (or Elma stepped attenuators in the Mastering version) - the list goes on and on. Click on the images above to see inside the Resonance Equalizer and discover for yourself why this product is truly unique! \u003cbr\u003e\u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eApplications:\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eTracking and stereo mix bus equalisation \u003c\/li\u003e\r\n\u003cli\u003eAudio mastering and restoration \u003c\/li\u003e\r\n\u003cli\u003ePost production sound shaping \u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures:\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e No other equalizer like it in the world\u003c\/li\u003e\r\n\u003cli\u003e Fully discrete hi-bias wide bandwidth differential Class A amplifiers\u003c\/li\u003e\r\n\u003cli\u003e Real choke and capacitor resonant circuits that sound fantastic\u003c\/li\u003e\r\n\u003cli\u003e \u003ca class=\"bluelinks\" href=\"http:\/\/www.buzzaudio.com\/products\/reqfreqchart.htm\" target=\"blank\"\u003e72 frequency\u003c\/a\u003e choices per channel\u003c\/li\u003e\r\n\u003cli\u003e Individual discrete power supply regulators for each EQ band\u003c\/li\u003e\r\n\u003cli\u003e Large easy to adjust knobs \u003c\/li\u003e\r\n\u003cli\u003e High quality long life switches and potentiometers\u003c\/li\u003e\r\n\u003cli\u003e Modular internal construction for easy future servicing\u003c\/li\u003e\r\n\u003cli\u003e Mastering and recording versions\u003c\/li\u003e\r\n\u003cli\u003e Unique transformer saturation module\u003c\/li\u003e\r\n\u003cli\u003e Overall and individual band bypass switches\u003c\/li\u003e\r\n\u003cli\u003e High-end balanced input and output amplifiers\u003c\/li\u003e\r\n\u003cli\u003e Input connectors with loop through\u003c\/li\u003e\r\n\u003cli\u003e Two output connectors on each channel\u003c\/li\u003e\r\n\u003cli\u003e Rugged chassis construction\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eSpecifications:\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eFrequency Response\u003c\/span\u003e\u003cbr\u003e Measured with all eq bands ON set flat, Saturation and HPF OFF 5Hz to 125kHz +0.2\/-3dB \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eHarmonic Distortion\u003c\/span\u003e\u003cbr\u003e At +10dBu, Saturation OFF 100Hz 0.007%...1kHz 0.004%...10kHz 0.007%...100kHz 0.013%\u003cbr\u003e Saturation ON POS-1 20Hz 1.5%...100Hz 0.07%...1kHz and up 0.01%\u003cbr\u003e Saturation ON POS-2 20Hz 1.5%...100Hz 0.14%...1kHz and up 0.01%\u003cbr\u003e Saturation ON POS-3 20Hz 1.5%...100Hz 0.16%...1kHz and up 0.01%\u003cbr\u003e Saturation ON POS-4 20Hz 1.6%...100Hz 0.17%...1kHz and up 0.01%\u003cbr\u003e Saturation ON POS-5 20Hz 1.7%...100Hz 0.18%...1kHz and up 0.01%\u003cbr\u003e Saturation ON POS-6 20Hz 2.0%...100Hz 0.22%...1kHz and up 0.01%\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eMaximum Input Level\u003c\/span\u003e +25dBu \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eInput Impedance\u003c\/span\u003e approx 20k ohms \u003cbr\u003e\u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eMaximum Output Level\u003c\/span\u003e +32dBu balanced…+26dBu unbalanced \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eOutput Impedance\u003c\/span\u003e approx 70 ohms \u003cbr\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003e Input Common Mode Rejection\u003c\/span\u003e (ref 0dBu) 100Hz -65dB…1kHz -65dB…10kHz -60dB \u003cbr\u003e\u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eNoise\u003c\/span\u003e all bands ON set flat -110dB below max input level A weighted \u003cbr\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003e General:\u003c\/span\u003e\u003cbr\u003e Power requirements 115V\/230V selectable on rear panel Dimensions 4U rack mount, 300mm deep\u003c\/p\u003e","brand":"Buzz Audio","offers":[{"title":"Default Title","offer_id":44449573601383,"sku":"35026","price":6295.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/buzz-audio-req-2-2me_10970_1_1_91fdf21a-7a16-4196-80b3-832804ecc72d.jpg?v=1787089519"},{"product_id":"manley-slam-with-ad-da-option-110-used","title":"Manley SLAM! with AD\/DA Option #110 (Used)","description":"\u003cp\u003e\u003cstrong\u003eSLAM!\u003c\/strong\u003e stands for \"Stereo Limiter And Micpre\" and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 \u0026amp; 6dB to keep the poor little needles from bending? it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.\u003c\/p\u003e\n\u003cp\u003eWhen it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? We combined our favorite Electro-Optical circuit with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, \"it just works\" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM!\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGET IN:\u003c\/strong\u003e The SLAM! starts with tube Mic Preamps on both channels with switchable phantom power and phase reverse. We?ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter? plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ?n? rollers won?t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. Come on in!\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGot some Digital to deal with? No problem.\u003c\/strong\u003e There is a slot in the back for our optional 24 Bit\/96KHz Analog to Digital converter and 24 Bit\/192KHz Digital to Analog converter card. This allows you to record directly to your computer or workstation and provides a convenient way to use a digital insert to jump into the analog realm and back. AES and SPDIF digital inputs receive your stereo digital signal to convert to analog for processing by the SLAM! when the DAC input is selected. Or just take advantage of this killer DAC and use the DAC Output for monitoring, listening, or to go out to some other analog processors or tape machines.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGet it LOUD... two different and distinct limiters per channel\u003c\/strong\u003e\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449574551655,"sku":"32955","price":5150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_32955_1_d7ea3a8d-a09f-48fa-b1f2-2759447c210e.jpg?v=1787089524"},{"product_id":"elysia-alpha-compressor-9010010047-used","title":"Elysia Alpha Compressor #9010010047 (Used)","description":"The \u003cb\u003eelysia alpha compressor \u003c\/b\u003eis a mighty tool for professional dynamics processing. Featuring innovative functions with perfect technical implementation and an absolutely uncompromising quality of sound, it sets new standards for mastering applications and for cultivating any kind of audio material. It offers M\/S processing, parallel compression as well as sidechain and audio filters, just to name a few. \u003cbr\u003e\u003cbr\u003e The circuitry is a complete new development that provides an amount of openness and clarity which can hardly be found in present gear. Every single part of its signal processing is realized by using single transistors running in constant class-A mode, and even the sidechain and power supply use discrete circuits. All components are of the highest grade available and were exclusively chosen according to their tonal excellence. \u003cbr\u003e\u003cbr\u003e These benefits result in an audio quality that is beyond all doubt. Even when extreme adjustments are used, the sound characteristics stay clean and powerful. Consequently the alpha compressor offers suitable settings for nearly any style of music and can always be employed in profitable ways. The enhanced functions exceed the potential of normal compressors by far and enable unimagined options for mastering and recording tasks. \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003e The challenge\u003c\/span\u003e\u003cbr\u003e Mastering requirements are many-sided and diversified. The quality of the delivered audio material differs from one job to the other in the same way as the customers’ wishes and demands do. Especially when it comes to dynamic processing it is not easy to procuce results that meet everybody’s desires. \u003cbr\u003e\u003cbr\u003e Many clients want their tracks to sound as loud as possible. In most cases, however, this leads to a flat sound and a suffering stereo image. Sometimes only small adaptations are required to change the dynamics in subtle nuances. On other occasions certain productions need a kind of sound stamp that aims at finishing the overall tonal character. \u003cbr\u003e\u003cbr\u003e The alpha compressor is specifically designed to satisfy these demands. Its new functions enable engineers to deal with even most complex material in outstanding quality. Even special problem cases can be subdued much better compared to using conventional types of compressors. \u003cbr\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003e M\/S processing\u003c\/span\u003e\u003cbr\u003e One of the most important features is the integration of a switchable M\/S matrix. This module transfers the incoming stereo signal into a middle (M) and a side channel (S). Now the M and S channels can be processed separately and are then decoded to left (L) and right (R) again. \u003cbr\u003e\u003cbr\u003e The resulting possibilities go beyond the potential of a conventional compressor in stereo link mode. For example, you can now process the mostly dominant middle signals like drums, bass and vocals selectively without influencing the stereo spectrum in a negative way. \u003cbr\u003e\u003cbr\u003e The complicated splits between a powerful middle signal and a wide stereo image can now be done off the top of one’s head. But using M\/S technology in dynamic processing offers more possibilities than merely providing a problem solver for complicated cases. The creative fraction will also love the new dimensions of putting their personal sound visions into effect. \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003e Compression characteristics\u003c\/span\u003e\u003cbr\u003e The performance of the compressor can be perfectly matched to the audio material by engaging intelligent control options. Special modes support the classic parameters attack, release, threshold and ratio, helping to achieve pleasantly unobtrusive compression results even when processing very dynamic sounds. \u003cbr\u003e\u003cbr\u003e Both attack and release feature the switchable Auto Fast option that adjusts the time parameters semi-automatically according to the speed in which the volume of the signal changes. In case of short and loud impulses (e.g. drums) the compressor automatically enhances its speed for a short moment and then returns to the original settings. \u003cbr\u003e\u003cbr\u003e This makes it very easy to find musical settings for any kind of dynamic processing. Switching the sidechain from feedback to feed forward mode results in more extreme sounding compression properties that invite to dive into creative sound design – a true pleasure for ambitious sound freaks. \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003e Sidechain and audio filters\u003c\/span\u003e\u003cbr\u003e The integrated sidechain filters allow to shape the compression dependent on selected frequencies. For example, it is very easy to attenuate the influence of bass signals on the overall compression. Furthermore, you can crossfade between high pass and low pass characteristics. In combination with corresponding attack and release settings, the responding behavior can be systematically adjusted to problematic frequencies. \u003cbr\u003e\u003cbr\u003e A special Niveau Filterallows altering the character of the compressed signal. It should not be equated with classic shelving EQs because it is capable of creating new sound nuances without corrupting the signal’s original complexion. Digital productions will sound more powerful and rhythm instruments will gain in punch and assertiveness. \u003cbr\u003e\u003cbr\u003e The fact that you can use this function on the middle and the side channel separately opens up entirely new possibilities. For example, an accentuation of the high frequencies in the side channel will broaden the stereo spectrum in a very pleasant and unobtrusive way. Reverbs can also sound wider without taking exaggerated effects. \u003cbr\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003e Parallel compression\u003c\/span\u003e\u003cbr\u003e The mix controller allows to blend between the compressed and the unprocessed signal so that the alpha compressor can be used to assign the right proportion without further hardware and cables. \u003cbr\u003e\u003cbr\u003e This method of parallel compression enables the user to enhance the quieter signals only and leave the rest as it is. The mix will sound tight and loud without degrading the original dynamic structure. For sound design purposes, this feature can also be used to add extreme compression effects to the source. Both the original and the processed signal have an individual bypass switch and can be monitored separately. \u003cbr\u003e\u003cbr\u003e This also works in M\/S mode where you can monitor the middle and the side channels independently just by switching them on and off – a very convenient aspect, because it makes changing any controller setting for this redundant. \u003cbr\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003e Soft Clip\u003c\/span\u003e\u003cbr\u003e In order to protect following AD converters from signal peaks the alpha compressor is equipped with Soft Clip limiters. By holding back short transients, the converters can be set to a higher recording level. The fully discrete transistor design makes this circuit very agile so that even very fast signals will not find a way through. \u003cbr\u003e\u003cbr\u003e The operation mode differs however from that of a typical peak limiter that will not let any signal pass above the adjusted threshold. The technical principle can rather be compared to an analog tape machine that drives loud impulses into saturation and thus acts like a 'natural' limiter. \u003cbr\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003e 100% discrete\u003c\/span\u003e\u003cbr\u003e The all discrete design using single transistors exclusively is one of the main reasons for the outstanding quality of sound of the alpha compressor. Every single component was developed with its influence on tone in mind, and the choice of components also follows this commandment. \u003cbr\u003e\u003cbr\u003e All amplifier stages work in current feedback mode and do not need any capacitors that could have negative effects on frequency and dynamic imaging. Resulting in enormous speed and precision these circuits play an important role in producing a notably wide and open sound character. The PCA (Passive Current Attenuator) is an entire new development. \u003cbr\u003e\u003cbr\u003e It also works fully discrete and purely passive, resulting in clearly superior sound quality compared to industrial ICs. Even the sidechain electronics is based on single transistors that provide a much better signal-to-noise ratio than comparable integrated circuits. \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003e A look inside\u003c\/span\u003e\u003cbr\u003e The alpha compressor is exclusively equipped with capsuled conductive plastic potentiometers with detents. All modules can be switched via capsuled relays that have been placed at the optimal circuit areas in order to achieve a minimum signal path. \u003cbr\u003e\u003cbr\u003e The inputs feature toroidal transformers resulting in high common mode rejection and reducing ground loops by means of galvanic isolation. In addition, both mix stages feature another big torodial transformer each in order to add that often sought after silky and huge sound character by simply pressing a button. The output stages are electronic class-A designs. \u003cbr\u003e\u003cbr\u003e The power supply is a phenomenon of its own. Newly developed discrete voltage regulators provide a signal-to-noise ratio that is so low it can hardly be measured at all. A 130 VA toroidal power transformer provides more than enough current to charge the great number of electrolytic capacitors very fast. Due to its full MU metal capsule the magnetic stray field could be reduced so efficiently that it is no problem to place the power transformer inside the housing. Definitely no esoteric punk: Certain circuit parts are heated in isolated copper blocks. \u003cbr\u003e\u003cbr\u003e This keeps critical parameters constant which avoids changes in temperature and control mode. The final highlight is the housing. Based on an exclusive design it represents the combination of visual elegance and mechanical steadiness. Created with on eye on elegant details and manufactured from massive aluminum the alpha compressor marks the final crown jewel for any ambitious studio. \u003cbr\u003e\u003cbr\u003e \u003cobject height=\"355\" width=\"425\"\u003e\u003cparam name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/rcfcR_FkVb4\u0026amp;hl=en\"\u003e\n\u003cparam name=\"wmode\" value=\"transparent\"\u003e\n\u003cembed src=\"\/\/www.youtube.com\/v\/rcfcR_FkVb4\u0026amp;hl=en\" type=\"application\/x-shockwave-flash\" wmode=\"transparent\" height=\"355\" width=\"425\"\u003e\u003c\/object\u003e","brand":"Elysia","offers":[{"title":"Default Title","offer_id":44449590476903,"sku":"35481","price":7500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/used_35481_1_5e1ae1f0-ce21-40f0-9929-9e4365336957.jpg?v=1787089594"}],"url":"https:\/\/vintageking1.myshopify.com\/collections\/recording-outboard-equalizers-mastering-equalizers.oembed","provider":"VINTAGE KING AUDIO","version":"1.0","type":"link"}