{"title":"Mastering Processors","description":null,"products":[{"product_id":"elysia-alpha-compressor","title":"Elysia Alpha Two-Channel Mastering Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eElysia Alpha Two-Channel Mastering Compressor\u003c\/strong\u003e is 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eThese 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTHE CHALLENGE\u003c\/h3\u003e\r\n\u003cp\u003eMastering 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.\u003c\/p\u003e\r\n\u003cp\u003eMany 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eM\/S PROCESSING\u003c\/h3\u003e\r\n\u003cp\u003eOne 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eCOMPRESSION CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eBoth 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.\u003c\/p\u003e\r\n\u003cp\u003eThis 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eSIDECHAIN AND AUDIO FILTERS\u003c\/h3\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eA 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_4\"\u003ePARALLEL COMPRESSION\u003c\/h3\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eThis 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.\u003c\/p\u003e\r\n\u003cp\u003eThis 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_5\"\u003eSOFT CLIP\u003c\/h3\u003e\r\n\u003cp\u003eIn 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_6\"\u003e100% DISCRETE\u003c\/h3\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eAll 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.\u003c\/p\u003e\r\n\u003cp\u003eIt 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_7\"\u003eA LOOK INSIDE\u003c\/h3\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003cp\u003eThis 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.\u003c\/p\u003e","brand":"Elysia","offers":[{"title":"Default Title","offer_id":44449213841511,"sku":"9938","price":13449.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/elysia-alpha-22_9938_1_49496d4c-0f59-4e83-84e9-2373d2475300.jpg?v=1787088164"},{"product_id":"alta-moda-unicomp","title":"Alta Moda Unicomp","description":"\u003cp\u003eThe \u003cstrong\u003eAlta Moda Unicomp \u003c\/strong\u003eaudio compressor combines the best features of both modern and classic audio compressors into a single, dual-mono unit.  At its heart is a unique gain cell\/sidechain combination which gives the Unicomp its own distinctive sonic character.  The Unicomp’s comprehensive set of sidechain features gives it true versatility and accuracy which make the unit superbly suited for tracking, mixing and mastering applications. \u003cbr\u003e \u003cbr\u003e The Unicomp boasts a fully discrete, Class A, high voltage minimalist audio path.  The amplifiers are DC servo-coupled, eliminating all coupling capacitors in the signal path. \u003cbr\u003e \u003cbr\u003e The sidechain features a high accuracy logarithmic-scaled detector, with a choice of operating in RMS or peak rectifier modes.  The Unicomp also allows the user, with a single switch, to change the compressor topology from a modern and accurate feed-forward detection scheme, to the classic and more colorful feedback approach; completely changing the sonic personality of the unit. \u003cbr\u003e \u003cbr\u003e The Unicomp’s personality is further changed with the addition of the warmth control.  Turning this control adds rich, second harmonic distortion to the signal that increases as compression increases, adding even more character to the sound.  A switchable filter changes the contour of the affected signal, useful when processing more complex signals, such as mixes. \u003cbr\u003e \u003cbr\u003e Another unusual feature of the unit is the blend control.  The blend control allows the operator to mix unprocessed signal back into the compressor’s output path.  This gives one the ability to create a more subtle compression effect on tracks such as vocals, or for blending back dry signal when heavy buss compression effects such as drum submixes are being processed.  A high pass filter is included which blends only the higher audio frequencies back into the output path. \u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e","brand":"Alta Moda","offers":[{"title":"Default Title","offer_id":44449239203943,"sku":"9187","price":3850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/alta_moda_unicomp_1.jpg?v=1787088268"},{"product_id":"api-2500","title":"API 2500 Stereo Bus Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eAPI 2500\u003c\/strong\u003e is a versatile stereo bus compressor that allows adjustment of sonic qualities that can alter the punch and tone of the stereo mix. The 19\" rack-mountable unit features API's patented \"thrust\" circuit for a chest-hitting, punchy bottom end. With its dual-channel design, the API 2500 is set up for stereo compression, but can also be used as two separate units via a single compression setting. The 2500 boasts a range of parameters that make it incredibly musical.\u003c\/p\u003e\r\n\u003cp\u003eAPI pushes the envelope of flexibility further with selectable \"old\" or \"new\" compression. The old-style uses the feedback type of compression found in the API 525, Universal Audio 1176, and the Fairchild 660\/670. The new style uses a feed-forward type, similar to other popular compressors.\u003c\/p\u003e\r\n\u003cp\u003eThe output stage features API's auto-makeup gain button, permitting the user to vary the threshold or ratio while automatically maintaining a constant output level. Fidelity is ensured with an all-discrete, fully balanced design, and two front panel VU meters show input, output, and gain reduction levels.\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449239335015,"sku":"102","price":3130.25,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api-2500_102_1_2.jpg?v=1787088269"},{"product_id":"avalon-ad2044","title":"Avalon AD2044","description":"\u003cp\u003eThe \u003cstrong\u003eAD2044\u003c\/strong\u003e features 100% discrete, pure class A signal amplifier configured with high speed current monitored optical control elements.  These \"invisible\" opto elements enable the AD2044 to deliver totally transparent, low noise gain reduction within the minimalist signal path design.  No VCAs are incorporated.  Variable attack and release controls plus side chain access, provide unlimited creative control from soft compression to hard limiting. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSonic Excellence\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003eThe Avalon AD2044 Pure Class A opto-compressor is the most transparent, low noise optical-compressor available today.  Designed to optimize absolute signal integrity and musical performance, the AD2044 combines advanced electronics with sonic excellence unequaled by lesser designs. The AD2044 is the perfect solution for two buss music-program compression, mono bass and instruments and mastering applications. \u003c\/p\u003e\n\u003cp\u003eFeatures include state-of-the-art, balanced 100% discrete, Pure Class A signal amplifiers, practical \"real-world\" user features and rugged hardware designed to deliver true high performance audio for many years. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eLinear Optical Compression\u003c\/strong\u003e\u003cbr\u003eCustom manufactured, high speed linear opto elements provide the non invasive passive attenuator system for invisible gain reduction.  The AD2044 incorporates a unique external control loop and current monitored optical driver for smooth control plus the benefits of traditional vintage LDR compression. \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eMinimum Signal Path Design\u003c\/strong\u003e\u003cbr\u003eAvalon's advanced true symmetry design offers high-voltage, large headroom, extended bandwidth and very low noise.  The use of 100% discrete, Pure Class A signal amplifiers offer the serious music professional unlimited sonic character and a natural harmonic detail that enhances the program material and becomes one with the music itself. \u003cbr\u003e \u003cbr\u003e The AD2044 can be found in the world's leading recording studio's, mastering facilities and artist\/producers outboard racks.  These professionals rely on the AD2044 daily to help them complete their \"sonic signature\" and turn recordings into musical masterpieces.\u003c\/p\u003e","brand":"Avalon Design","offers":[{"title":"Default Title","offer_id":44449239531623,"sku":"7750","price":2970.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/avalon_ad2044_1.jpg?v=1787088269"},{"product_id":"chiswick-reach-stereo-valve-compressor","title":"Chiswick Reach Stereo Valve Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eChiswick Reach Compressor\u003c\/strong\u003e is all transformer coupled, all valve signal path topology, operating in true balanced Class A mode. \u003cbr\u003e \u003cbr\u003e Particular attention has been paid to the design of the input and output transformers resulting in extended frequency response at both low and high frequencies and at high input and output levels. \u003cbr\u003e \u003cbr\u003e All valves are carefully matched to obtain lowest noise and distortion and to ensure accurate tracking when used as a stereo compressor.  Capacitors and other components have also carefully selected for low noise and colouration. \u003cbr\u003e\u003cbr\u003eThe result is a compressor which is smooth and transparent and will add warmth and sparkle to any track.  Each channel is fitted with input and output attenuators and a continuously variable input level control.  A meter showing gain reduction, and the normal threshold, attack and release controls. \u003cbr\u003e \u003cbr\u003e A further refinement to the attack control the “thump” position allows a switched modification to the side chain giving a great tool for percussive sounds.  Independent bypass switches on both channels and a stereo link switch are also fitted. \u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSpecifications:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFrequency response +\/- 0.5dB 18Hz to 25kHz \u003c\/li\u003e\n\u003cli\u003eHigh frequency -3dB point 55kHz \u003c\/li\u003e\n\u003cli\u003eLow frequency -3dB point 15Hz \u003c\/li\u003e\n\u003cli\u003eDistortion at +8dB input level and 5dB compression less than 0.08% predominately second order. \u003c\/li\u003e\n\u003cli\u003eBroadband noise better than -70dB peak 20Hz to 20kHz \u003c\/li\u003e\n\u003cli\u003eWithin 1 degree of phase from 10Hz to 25kHz \u003c\/li\u003e\n\u003cli\u003eRelease Time:- 0.25 second to 2.5 seconds \u003c\/li\u003e\n\u003cli\u003eThreshold range :- 7.5dB \u003c\/li\u003e\n\u003cli\u003eMax attainable output before soft clipping +22dB\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Chiswick Reach","offers":[{"title":"Default Title","offer_id":44449241399399,"sku":"10113","price":4895.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chiswick_reach_stereo_valve_compressor.jpg?v=1787088275"},{"product_id":"crane-song-stc-8-m","title":"Crane Song STC-8\/M Stereo Mastering Compressor\/Peak Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eCrane Song STC-8\u003c\/strong\u003e is a high quality stereo compressor combined with a remarkably dependable peak limiter, providing overload protection critical to digital recording and broadcast transmitters.  The STC-8's compressor is engineered to provide musically transparent gain KI \u0026amp; HARA Sounds control, but is also capable of emulating vintage equipment and creating distinctive new sounds. \u003cbr\u003e\u003cbr\u003e In addition, a switchable enhancement circuit creates analog and tube like warmth to enrich lifeless audio and digital recordings.  This vast flexibility is simplified by the inclusion of several optimized presets, allowing fast, easy set-optimized pre-setsup on a wide variety of sounds.  It can operate in true stereo or discrete independent mono, accessible by a front panel switch. \u003cbr\u003e\u003cbr\u003e The STC-8's sophisticated side-chain allows both compression and peak limiting to take place simultaneously, using the same proprietary gain circuit.  High signal quality is maintained by utilizing a discrete class A audio path, and by eliminating any VCA or optical gain control elements. \u003cbr\u003e\u003cbr\u003e The STC-8 requires two rack spaces. All inputs and outputs are transformerless and balanced.  The toroidal power transformer is UL approved and allows four line voltages for international use. \u003cbr\u003e\u003cbr\u003e The STC-8 delivers consistent gain control without sacrificing musical definition or harmonic richness.\u003c\/p\u003e","brand":"Crane Song","offers":[{"title":"Default Title","offer_id":44449241530471,"sku":"245","price":5699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/crane_song_stc-8m.jpg?v=1787088275"},{"product_id":"drawmer-s2","title":"Drawmer S2","description":"\u003cp\u003eThe new \u003cspan style=\"font-weight: bold;\"\u003eDrawmer S2 Signature Series Dual Channel Tube Compressor \u003c\/span\u003eis the latest product to emerge from Ivor Drawmer’s high end designs and offers an ‘all tube - no technical compromise’ circuit using only the highest grade components.  The S2 features a host of new creative processing possibilities never before found in an all analogue dynamics package.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eV-BIG\u003c\/span\u003e\u003cbr\u003eRetains bass frequencies and minimizes undesirable ‘pumping’ by rolling off the detection signal at 75, 125 or 250Hz (user switchable).  A fully variable level control allows for the desired amount of V-BIG processing and an in\/out switch provides the option to remove from the signal path for A\/B comparison.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eV-AIR\u003c\/span\u003e\u003cbr\u003eA dynamic high frequency enhancer to keep compressed audio sounding fresh and bright with continuously variable frequency control (500Hz to 20kHz) and variable level to control the amount of V-AIR enhancement.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eDRY\u003c\/span\u003e\u003cbr\u003eMixes user defined amount of ‘uncompressed’ signal with the compressed signal to create ‘parallel compression effect’ without the need for external mixing devices.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242579047,"sku":"12399","price":4995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_s2.jpg?v=1787088280"},{"product_id":"drawmer-s3","title":"Drawmer S3","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer S3 Stereo Three Band Optical Compressor\u003c\/strong\u003e incorporates the very latest in Ivor Drawmer designs and the aim from the very beginning was to create a 'no technical compromise' circuit using only the highest grade components.  The S3 forms the basis of a 'Signature Series' and offers previously unattainable control and tonality over each of the three bands - gain control at each stage provides precise spectral balancing.   The signal path consists of high performance input\/output transformers, passive components and 10 tubes (8x ECC83 and 2x 12BH7) configured as a fully balanced Class A design.  Because the LDR's (Light Dependent Resistors) in the opto-compressors are temperature sensitive the S3 houses an 'electronic oven' which provides and sustains the optimum LDR operating temperature - thereby maintaining calibration accuracy and improving performance.  A front panel LED indicates temperature status. Large scale VU meters can be switched to 'Peak' mode to show transient information.  Two further VU meter re-scale modes are available (+10dB and +20dB) to accurately display the unit's ability to output levels of up to +30dBm.  The master output section includes controls for both Gain and stereo balance to compensate for source material with a Left\/Right imbalance or disproportionate processing. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eFeatures:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cli\u003eFully balanced signal path class A design \u003c\/li\u003e\n\u003cli\u003eIsolation transformers in and out \u003c\/li\u003e\n\u003cli\u003e20 x active tube stages \u003c\/li\u003e\n\u003cli\u003eHigh power 'push\/pull' output stage delivering up to +30dBm \u003c\/li\u003e\n\u003cli\u003eVariable band split points \u003c\/li\u003e\n\u003cli\u003eFast reacting 'oven' controlled LDRs to maintain calibration accuracy \u003c\/li\u003e\n\u003cli\u003eSwitchable 'peak' or 'VU' metering to display transients \u003c\/li\u003e\n\u003cli\u003eSwitchable +10dB or +20dB meter re-scale modes \u003c\/li\u003e\n\u003cli\u003e'Air' mode for high band \u003c\/li\u003e\n\u003cli\u003e'Big' mode for low band \u003c\/li\u003e\n\u003cli\u003eSwitchable mute and bypass on each band \u003c\/li\u003e\n\u003cli\u003eIndividual gain reduction metering on all bands \u003c\/li\u003e\n\u003cli\u003e2 Crossover controls, continuously variable, divides the audio into three bands \u003c\/li\u003e\n\u003cli\u003e3 Threshold controls, one for each band, to set the onset of compression \u003c\/li\u003e\n\u003cli\u003e3 attack and 3 release controls, one set for each band \u003c\/li\u003e\n\u003cli\u003e3 gain controls, to control make up gain for each band \u003c\/li\u003e\n\u003cli\u003e3 mute switches, one per band, to mute the output of that band during set up \u003c\/li\u003e\n\u003cli\u003e3 bypass switches, one per band, bypasses compressor on that band \u003c\/li\u003e\n\u003cli\u003eLarge illuminated easy to read meters w\/switchable ballistics (VU or peak VU) \u003c\/li\u003e\n\u003cli\u003e+10dB or +20dB scale switches on meters \u003c\/li\u003e\n\u003cli\u003eInput or Output meter switch \u003c\/li\u003e\n\u003cli\u003eOverall make up gain control, continuously variable \u003c\/li\u003e\n\u003cli\u003eL\/R output balance control \u003c\/li\u003e\n\u003cli\u003eUnit bypass switch \u003c\/li\u003e\n\u003cli\u003eFront panel power switch \u003c\/li\u003e\n\u003cli\u003eAngled cage to enable additional cooling above unit\u003c\/li\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242611815,"sku":"8853","price":4995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_s3.jpg?v=1787088280"},{"product_id":"fairman-tmc","title":"Fairman TMC","description":"\u003cp\u003eThe \u003cstrong\u003eFairman TMC (Tube Master Compressor)\u003c\/strong\u003e is a totally hand built unit of the absolute highest quality providing the ultimate in professional standards available today. Designed for recording, mixing and mastering, its principle of construction is based upon the classic compressor like the Fairchild 660\/670 and, like these classics units, the Tube Master Compressor delivers the same unmistakable smooth, natural yet amazingly effective limiting and compression. \u003c\/p\u003e","brand":"Fairman","offers":[{"title":"Default Title","offer_id":44449243037799,"sku":"249","price":14995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/fairman_tmc.jpg?v=1787088282"},{"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":"manley-stereo-variable-mu-mastering-version","title":"Manley Stereo Variable Mu Limiter\/Compressor - Mastering Version","description":"\u003cp\u003eThe \u003cstrong\u003eManley Stereo Variable Mu Mastering Version\u003c\/strong\u003e incorporates detented and logable steps built with 1% metal film resistors on sealed gold-contact Grayhill switches. The Mastering Version of the Variable Mu Limiter Compressor uses expensive Greyhill rotary switches with gold contacts where conductive plastic pots were used. The steps are determined with a large number of 1% precision metal film 1\/2 watt resistors. The best conductive plastic pots only have 10% or 20% tolerance. The ten fold improvement in precision helps a great deal in left-right matching. There is a subtle audible improvement with stepped switches as well. Audiophile HI-FI often uses that technique to wring the last drop of performance out of a preamplifier.\u003c\/p\u003e\r\n\u003cp\u003eThe INPUT LEVEL is a five position switch with a generic optimum setting of “0” in the 12:00 position. Each step in either direction is 2 dB. For reference, Unity Gain is \"0\".\u003c\/p\u003e\r\n\u003cp\u003eThe OUTPUT Attenuators are in half dB steps. Reference Unity is -11.5 or fully counter-clockwise. You might think of these as \"gain makeup\". They are marked technically, in that “0” or fully clockwise has zero attenuation in the circuit. The tube circuit actually has 15.5 dB of gain. The Input attenuator at \"0\" removes 4 dB and the Output attenuator removes the last 11.5 producing \"unity\". With a little compression the \"gain make-up\" available with the Output Attenuator is very handy.\u003c\/p\u003e\r\n\u003cp\u003eThe Threshold is in half dB steps calibrated to LIMIT mode. In Compress the steps are approximately 1\/4 dB. There are 24 steps so LIMIT gets a 12 dB range and Compress has a 6 dB range of adjustment. In some cases it is common to use the Input Attenuator to find a good starting point. Some Mastering engineers find using the combination of Input, Output and Threshold to achieve a little different \"drive\". Another good reason for stepped gains.\u003c\/p\u003e\r\n\u003cp\u003eThe Attack Time has been slightly extended in both directions compared to a regular Variable Mu and divided into 11 steps. The Recovery 5 position switch is exactly the same as a regular Variable Mu.\u003c\/p\u003e\r\n\u003cp\u003eThe switches specifically are like this:\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eInput: -4 to +4 in 2 dB steps\u003c\/li\u003e\r\n\u003cli\u003eOutput: -11 to 0 in 1\/2 dB steps (24 detents)\u003c\/li\u003e\r\n\u003cli\u003eThreshold: -11 to +1 in 1\/2 dB steps LIMIT(24 detents) and 24 x 1\/4 dB steps in COMPRESS\u003c\/li\u003e\r\n\u003cli\u003eAttack: 11 positions CW (fast) 15mS, 20, 25, 30, 35, 40, 50, 60, 70, 80, 90mS (slow) CCW\u003c\/li\u003e\r\n\u003cli\u003eRelease: 5 positions CW (fast) 200mS, 400mS, 600mS, 4S, 8 Seconds (slow) CCW\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449244774503,"sku":"6309","price":6599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley-labs-stereo-mu-master_6309_1.jpg?v=1787088290"},{"product_id":"maselec-mla-3","title":"Maselec MLA-3","description":"\u003cp\u003eWith the \u003cstrong\u003eMaselec MLA-3 \u003c\/strong\u003ethe input signal is split into three frequency-bands. Each band is passed through a stereo compressor where gain and compression can be altered. \u003cbr\u003e\u003cbr\u003e The outputs of the compressors are then re-combined and fed to the outputs. There are four different frequencies for each of the two crossovers that can be separately selected for the low-to-mid and the mid-to-high bands. \u003cbr\u003e\u003cbr\u003e The three frequency-band compressors have separate controls so that different parts of the audio spectrum can be adjusted and tuned. With separate gain controls for each frequency-band, the MLA-3 can be used as an equalizer. \u003cbr\u003e\u003cbr\u003e You can always adjust the controls for the separate frequency bands to different settings. There is no technical reason why they should be the same for all frequencies. Overall Input and Output gain controls make it easy to set up for different operating levels. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eInputs\u003c\/strong\u003e \u003cbr\u003e The inputs are electronically balanced, virtually ground floating, making them perform as if they are transformer coupled, but without the associated colouration, low frequency distortion and restricted bandwidth. The input impedance is 100kohm. Maximum input \u0026gt;+29dBu (balanced). \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eOutputs\u003c\/strong\u003e \u003cbr\u003e The outputs are electronically balanced and can deliver \u0026gt;+28dBu into 600ohm (balanced). Output impedance is 33ohm (balanced and unbalanced). Both inputs and outputs can be unbalanced by simply grounding either pin 2 or pin 3.\u003c\/p\u003e","brand":"Maselec","offers":[{"title":"Default Title","offer_id":44449244938343,"sku":"9234","price":4970.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maselec_mla-3_1.jpg?v=1787088291"},{"product_id":"pendulum-es-8","title":"Pendulum ES-8","description":"\u003cb\u003eA Modern Approach to Classic Tube Compression\u003c\/b\u003e \u003cul\u003e \u003cli\u003eClassic feedback compression with the same compression profile as the Fairchild 660 and 670 \u003c\/li\u003e\n\u003cli\u003eThe 6386 uses the same gain control tube (remote cutoff triode) as the Fairchild 660 and 670.\u003c\/li\u003e\n\u003c\/ul\u003e The ES-8 uses a more readily available (and less expensive) tube with the same compression characteristics as the 6386. In all other aspects, the two units are identical.\u003cul\u003e \u003cli\u003eModern class A, solid-state gain make-up stage for wide bandwidth and low distortion \u003c\/li\u003e\n\u003cli\u003eSoft-knee design with smooth transition from compression to limiting \u003c\/li\u003e\n\u003cli\u003eFast attack (0.5ms) and release times ideal for tight program compression or tracking \u003c\/li\u003e\n\u003cli\u003eLow noise and superior transient response \u003c\/li\u003e\n\u003cli\u003eThree sidechain operating modes: Fast, Presets and Manual \u003c\/li\u003e\n\u003cli\u003eTwo completely independent channels with stereo linking \u003c\/li\u003e\n\u003cli\u003eTubes calibrated for precise stereo balance \u003c\/li\u003e\n\u003cli\u003eHard bypass switches for each channel \u003c\/li\u003e\n\u003cli\u003eSidechain inserts for frequency-dependent compression and de-essing \u003c\/li\u003e\n\u003cli\u003eTransformerless balanced output stage capable of delivering +27dBu \u003c\/li\u003e\n\u003cli\u003eSoft-start warm-up with outputs bypassed until all voltages are stabilized \u003c\/li\u003e\n\u003cli\u003eGold-plated relay contacts, I\/O connectors and tube sockets \u003c\/li\u003e\n\u003cli\u003eFully regulated high voltage (250V), filament and bipolar power supplies \u003c\/li\u003e\n\u003cli\u003eCustom toroidal power transformer with shield for minimum hum \u003c\/li\u003e\n\u003cli\u003ePolypropylene capacitors and metal film resistors \u003c\/li\u003e\n\u003cli\u003eLimited production, hand-built product \u003c\/li\u003e\n\u003c\/ul\u003e The 6386 and ES-8 are modern two channel limiters designed to have the compression characteristics of a vintage unit, but with a higher level of sonic accuracy. Rather than trying to recreate the past, we've taken an entirely different approach. The 6386 uses the gain control tube (remote cutoff triode) found in the vintage Fairchild limiters to provide the classic feedback response unique to the characteristics of this class of tubes. The ES-8 uses a different remote-cutoff triode with the same dynamic characteristics. Subsequent amplification is accomplished with a Class A, balanced transformerless line amp, rather than the push-pull transformer output stage used on vintage variable-mu units. The result is a new class of limiters that possess the 'dynamic signature' of a classic tube compressor, but with a more accurate, less colored signal path. The two units are identical, except for the tube used for gain reduction. \u003cbr\u003e\u003cbr\u003e The soft-knee design used in the 6386 and ES-8 offer effortless dynamic control with a smooth transition from compression to limiting. In addition, both channels can be operated independently, or linked with the flip of a switch. When linked, the threshold and attack\/release parameters are controlled entirely by channel 1, assuring precise stereo balance over the entire range of gain reduction. \u003cbr\u003e\u003cbr\u003e For maximum versatility, the 6386 and ES-8 incorporate a solid-state sidechain to provide a wide range of control with three modes of processing: In the FAST mode, the limiter works extremely fast (less than 0.5ms attack time), and is remarkably free of the 'pumping' artifacts normally encountered with slow variable-mu compressors. It's the ideal choice for invisible dynamics processing, either for tracking or tight program compression. \u003cbr\u003e\u003cbr\u003e The PRESET mode consists of six classic attack\/release time settings (identical to the Fairchild 670) that are optimized for program compression, including two settings with program-dependent release times. \u003cbr\u003e\u003cbr\u003e The MANUAL mode offers total control over the attack and release times, which is particularly useful for creative compression effects or for processing bass guitar. \u003cbr\u003e\u003cbr\u003e Most important, the hard bypass switches on the front panel conveniently allow a quick determination of exactly what the 6386 or ES-8 is, or in most cases, isn't doing to your signal.","brand":"Pendulum","offers":[{"title":"Default Title","offer_id":44449246675047,"sku":"1538","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/pendulum_es8_3c842dd6-357e-458b-9a15-3e282f707abf.jpg?v=1787088295"},{"product_id":"neve-8051-5-1-surround-compressor-limiter","title":"Neve 8051 5.1 Multi-Channel 5.1 Surround Compressor\/Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eNeve 8051\u003c\/strong\u003e is a hand-made and hand-wired analog compressor with six transformer balanced audio paths, complemented by two side chains and a key input. Based on six 2254 compression circuits—using the same feedback topology as the legendary 33609 stereo compressor—the 8051 delivers the famous Neve sound in spades. Flexible side chain routing, trimming and filtering make this a powerful and responsive tool for surround mixing and mastering.\u003c\/p\u003e\r\n\u003cp\u003eEach channel can be controlled from either Side Chain A or Side Chain B, and the six signal paths can be split between the two side chains in any format required. Each audio channel can be routed to either or both side chains; for example the Centre channel in a 5.1 mix may be compressed using Side Chain A but also input to Side Chain B to control compression of the Surround Channels.\u003c\/p\u003e\r\n\u003cp\u003eThe 8051's compression is exceptionally smooth, and the compression remains transparent even at extreme settings. Together with the unit’s ease of use and incredible flexibility, this sound quality has made the 8051 one of the world’s most desirable units for surround mixing and mastering. Providing legendary Neve analog sound quality without relinquishing any control, the 8051 is available as a standalone unit, but it can also be fitted to Neve's 88RS-series consoles.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eNEVE HERITAGE\u003c\/h3\u003e\r\n\u003cp\u003eLike all Neve outboard products, the 8051 Surround Compressor is hand-built and hand-wired by skilled Neve professionals in Burnley, England. Its fully discrete audio paths and classic feedback control circuit design delivers vintage Neve sound, and builds on the legacy of the highly sough-after 33609 Stereo Compressor.\u003c\/p\u003e","brand":"Neve","offers":[{"title":"Default Title","offer_id":44449246740583,"sku":"5143","price":7940.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/neve-8051_5143_1_68d55e2e-f3f3-4a9f-8209-2c56f3eb55bd.jpg?v=1787088296"},{"product_id":"pendulum-pl-2-analog-peak-limiter","title":"Pendulum PL-2 Analog Peak Limiter","description":"The \u003cb\u003ePendulum PL-2 \u003c\/b\u003eis a stand-alone two channel version of the very popular peak limiter in our Quartet II Tube Recording Channel. It uses a novel approach to brickwall limiting in the analog domain, one that is fast enough to prevent digital overs without using time delay or phase-shift delay techniques. This allows us to keep the analog signal path short, and keep the limiting circuit 'switched out' of the signal path below the peak limiting threshold. Distortion for all levels below the the limiting threshold is low, and does not rise as the threshold for limiting is approached. Unlike analog peak clippers, which chop off the top and bottom of the waveform, our limiter retains dynamic information at the top of the peak. \u003cp\u003e The PL-2 has two modes of peak limiting, using either junction field-effect transistors (JFET) or metal-oxide semiconductor field effect transistors (MOSFET) as the control elements. While both are equally capable of brickwall limiting, each type has its own characteristic sound. The JFET tends to be a stiffer, harder mode of limiting, while the MOSFET has a softer, more compliant response. The resulting waveforms look different, and each device has its own characteristic sound. \u003c\/p\u003e\u003cp\u003e In addition, Input and Output gain controls allow the user to scale the gain structure for a wide range of applications, from driving the front end of an A\/D converter at +22 dBu, to inserting it as an effect into a +4 dBu patch bay. Several units can be linked for multi-channel applications. \u003c\/p\u003e\u003cp\u003e Each channel also has an expanded 13 segment LED display which accurately indicates peak reduction.\u003c\/p\u003e","brand":"Pendulum","offers":[{"title":"Default Title","offer_id":44449246773351,"sku":"7217","price":2450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/pendulum_pl2_1.jpg?v=1787088296"},{"product_id":"prism-sound-maselec-mla-2-mastering-compressor","title":"Maselec MLA-2 Stereo Mastering Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eMaselec MLA-2\u003c\/strong\u003e is a stereo or 2-channel compressor with stepped drive (input gain), ratio, attack and release time and output gain controls. For optimum transparency and freedom from noise the MLA-2 employs a non-VCA design.\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 compressors 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 media. The MLA-2 provides fully-stepped controls for precision and repeatability for ALL parameters.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 is extensively used in mastering but also works well on an insertion point in recording or mixing. The MLA-2 has a rear-mounted range control switch that adjusts the threshold range to suit either mastering or recording\/mixing applications.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 is a compressor that can provide effective dynamic control with minimal side-effects - it is designed to provide a very transparent signal path.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003ePEDIGREE AND DESIGN PHILOSOPHY\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe combination of Leif Mases' experience with the creative process and engineering and technical excellence ensure that the Maselec MLA-2 delivers great-sounding audio in an intuitive and easy-to-use package.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eUSING THE MLA-2\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe MLA-2 is a very special Compressor that has been designed to provide effective but subtle compression. It uses the principle of a fixed threshold, with adjustable drive (or input gain). This makes for more intuitive operation than an adjustable threshold - turn the drive control clockwise and increase the compression depth.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe progression into the compression region is gradual and changes as the ratio is increased. Minimal output gain make-up adjustment is needed as the threshold is slightly modified running through different ratio settings. This creates a consistent gain point with about 2-3dB of compression across the ratio range.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 automatically adjusts its attack and release times based on the front panel setting for the most musical result. In addition, a modified release decay is used rather than the conventional exponential curve.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 IMAGELINK system provides a stereo side-chain link that allows the gain of the two channels to track so avoiding the risk of stereo image shifting when only one channel is controlled. However, transients that are placed to the extreme right or left can result in a slightly un-natural ducking of the other channel, so the stereo link is controlled to avoid this.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe MLA-2 achieves excellent results with speech and other highly dynamic sources, as well as instruments such as piano, saxophone or drums. It has a distinctive character, discernable both sonically and in the unique shape of its progressive compression curves. It provides the warmth, punch or air you need with a minimum of effort and without compromising the signal path.\u003c\/p\u003e","brand":"Maselec","offers":[{"title":"Default Title","offer_id":44449247166567,"sku":"6576","price":7502.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/maselec-mla-2-2024_6576_1.jpg?v=1787088297"},{"product_id":"shadow-hills-industries-mastering-compressor","title":"Shadow Hills Industries Mastering Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eShadow Hills Industries Mastering Compressor\u003c\/strong\u003e is a versatile compressor\/limiter that offers multiple compression circuits and output transformers, giving you all the sonic options you need for tracking, mixing, and mastering. Independent optical and discrete compressor sections, plus three output transformer options, provide a palette of tonal options to suit any situation. Dual-mono and linked stereo modes make this an equally capable compressor for tracking, mixing, and mastering. Plus, the built-in sidechain filter helps tighten up low-end response for punchier mixes. From smoothing vocal tracks to gluing your mixes together, the Shadow Hills Mastering Compressor does it all.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eDUAL COMPRESSION SECTIONS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Shadow Hills Industries Mastering Compressor's dual compression sections offer optical and VCA-based gain reduction on either channel, individually or in series. This two-stage design gives you the choice between transparent leveling, precise control, or both. Hardwired bypasses on each compressor section ensure that they don't impart any unwanted coloration when not in use. The Optical Section delivers smooth, program-dependent leveling modeled after a classic late-'60s optical compressor. Stepped Threshold and Gain controls make it easy to dial in your levels while the photocell works its magic, smoothing out tracks with a relaxed response that lets the music breathe. The Discrete Section employs a versatile VCA circuit with stepped Ratio, Attack, and Release controls for fast, responsive gain reduction and precise control. This stage is perfect for tightening up drum tracks, taming spiky acoustic instruments, and controlling transients for louder mixes and masters.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eTHREE SWITCHABLE OUTPUT TRANSFORMERS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eSwitch between three selectable output transformers to complement any signal with different flavors of harmonic and tonal character at the output stage. The front-panel transformer selector lets you audition the options instantly, helping you quickly dial in extra weight, clarity, or harmonics. These options make the Shadow Hills Mastering Compressor an extremely versatile choice for any genre of music.\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eNickel Transformer: The Nickel transformer provides a great balance of low-frequency weight and smooth high-frequency extension, reinforcing fundamental tones while adding presence without harshness. Nickel is a great option for beefing up lead vocals, acoustic instruments, and clean electric tones.\u003c\/li\u003e\r\n\u003cli\u003eIron Transformer: The Iron transformer delivers clear, present highs with a slight boost around 110 Hz and musical even-order harmonic distortion thanks to its Class A output stage. Iron adds a sense of analog warmth without sacrificing top-end clarity, helping instruments cut through and mixes sound more cohesive.\u003c\/li\u003e\r\n\u003cli\u003eSteel Transformer: The Steel Transformer offers an open, detailed response with a subtle 40 Hz lift for a modern sound anchored by rock-solid low end. Its fast response makes it ideal for processing drum busses, enhancing mix busses, or mastering pop and hip-hop.\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eSTEREO AND DUAL MONO MODES\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Shadow Hills Industries Mastering Compressor can be configured for linked stereo operation or dual-mono processing, making it a versatile choice for tracking, mixing and mastering. Use dual-mono mode for recording or two-stage compression techniques in your mixes, then switch to stereo mode for processing drums, beefing up your mix bus, or putting the final polish on a master.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_3\"\u003eBUILT-IN SIDECHAIN FILTER\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe compressor's built-in sidechain filter rolls off frequencies below 90 Hz in the detector circuit to prevent excessive low-end energy from triggering the compressor. Engage this filter to avoid pumping artifacts on drum busses and bass-heavy mixes, or control bass tracks without sacrificing too much dynamic range (note: this is a fixed-frequency sidechain filter, not an external sidechain input).\u003c\/p\u003e","brand":"Shadow Hills Industries","offers":[{"title":"Default Title","offer_id":44449247887463,"sku":"5373","price":9985.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shadow_hills_mastering_comp_straight_1_4b5ccd5c-d8ba-4081-9525-2db66acb6c09.jpg?v=1787088301"},{"product_id":"thermionic-culture-phoenix-mastering-plus","title":"Thermionic Culture Phoenix Mastering Plus Tube Compressor","description":"\u003cp\u003eThe \u003cstrong\u003eThermionic Culture Phoenix Mastering Plus\u003c\/strong\u003e classic, hand-built point-to-point wired soft knee tube compressor with a compression ratio from 1.2:1 to 5:1 at 15 dB. It features GE and Siemens valves and custom Sowter transformers.\u003c\/p\u003e\r\n\u003cp\u003eFollowing on from the success of the previous models including the red face anniversary limited edition Phoenix Mastering Plus model features switched and stepped rotary controls for quick and easy recall. The input gain features a 24-position ELMA, an 11-position ELMA for the Threshold, 6-position ALPHA attack and release and a 31-position OMEG stepped output pot. The same side chain filter section as previous versions has been retained.\u003c\/p\u003e\r\n\u003cp\u003eA significant difference to the previous M\/C versions is the the Mastering Plus now has the same input gain structure as the standard model Phoenix, enabling the mastering Plus to cope with tracking and mixing of individual instruments and vocals that may require high amounts of compression.\u003c\/p\u003e\r\n\u003cp\u003eOther features include a standby switch which is provided to extend valve and capacitor life. When in 'standby' the HT current through the valves is only 50% of the normal value. The meter zero level adjusters have now been brought to the front panel to avoid having to take the unit out of the rack and so making calibration easier.\u003c\/p\u003e","brand":"Thermionic Culture","offers":[{"title":"Default Title","offer_id":44449249525863,"sku":"19195","price":6599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/thermionic-phoenix-comp-23_19195_1_b22ad074-83ab-4cf0-be3f-cf422c43515a.jpg?v=1787088307"},{"product_id":"tube-tech-smc2bm","title":"Tube-Tech SMC 2BM Stereo Multi-Band Mastering Compressor","description":"\u003cb\u003eMastering Warmth in Stereo\u003c\/b\u003e \u003cp\u003eThe \u003ci\u003eTube-Tech SMC 2BM\u003c\/i\u003e Stereo Multiband Compressor is an all tube-based compressor that adds the warmth of vintage quality masters to your mix. \u003c\/p\u003e\u003cp\u003eSwitchable crossover points ensure precise control with all three bands of opto-compression. Independent band specific Threshold, Ratio, Attack, Release \u0026amp; Gain parameters make the \u003cu\u003eSMC 2BM\u003c\/u\u003e as flexible as it is accurate. Gain controls are fitted with 12 position gold plated switches with 1dB\/step. Threshold, Ratio, Attack, Release and Balance controls are fitted with potentiometers with 31 detents. \u003c\/p\u003e\u003cp\u003eThe \u003cb\u003eTUBE-TECH SMC 2BM\u003c\/b\u003e Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid \u0026amp; High) by 6 dB\/octave x-over networks with 12 selectable frequencies: 60 – 1200 Hz for Low\/Mid band and 6 selectable frequencies: 1,2 – 6,0 kHz for the Mid\/High band. \u003c\/p\u003e\u003cp\u003eThe design of the x-over networks optimizes the summing of all three bands, resulting in a flat frequency response (within +\/-0,25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls. \u003c\/p\u003e\u003cp\u003eBoth Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the output stage all DC voltages are stabilised.\u003c\/p\u003e","brand":"Tube-Tech","offers":[{"title":"Default Title","offer_id":44449250050151,"sku":"5938","price":7899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/tubetech_smc2bm_2.jpg?v=1787088310"},{"product_id":"weiss-ds-1-mkiii","title":"Weiss DS1-MK3 Digital Mastering Compressor","description":"The MK3 version of the DS1 - a software upgrade for the DS1-MK2: \u003cul\u003e \u003cli\u003eIndependent parameter control in the two channels \u003c\/li\u003e\n\u003cli\u003eM\/S mode selectable \u003c\/li\u003e\n\u003cli\u003eSidechain link on \/ off switchable \u003c\/li\u003e\n\u003cli\u003ePeak \/ RMS sidechain processing \u003c\/li\u003e\n\u003cli\u003eFactory Presets programmed by Mr. Bob Katz \u003c\/li\u003e\n\u003cli\u003e24 Bit POW-R dithering \u003c\/li\u003e\n\u003cli\u003eDS1-MK2 snapshots can be loaded in\u003c\/li\u003e\n\u003c\/ul\u003e Users of the standard DS1 model (i.e. not the MK2) can upgrade by swapping the DSP board of their DS1 for a new one. This can easily be done by the customer. \u003cbr\u003e\u003cbr\u003e The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the \u003cb\u003eWeiss Gambit DS1\u003c\/b\u003e, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity. \u003cbr\u003e\u003cbr\u003e In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.\u003cbr\u003e \u003cul\u003e \u003cli\u003ePresets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor\/limiter type. \u003c\/li\u003e\n\u003cli\u003eMonitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals. \u003c\/li\u003e\n\u003cli\u003eBandsplitting: When touching \"bandwidth\" or \"frequency\", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner \/ center frequency. \u003c\/li\u003e\n\u003cli\u003eAttack, Release etc.: Attack, release delay and release fast\/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time. \u003c\/li\u003e\n\u003cli\u003eSoft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold. \u003c\/li\u003e\n\u003cli\u003eGain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor\/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e\u003cbr\u003e","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449250574439,"sku":"5490","price":16418.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_ds1_mk3.jpg?v=1787088312"},{"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":"weiss-upgrade-from-ds1-to-ds1-mk3","title":"Weiss Upgrade from DS1 to DS1-MK3","description":"The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the \u003cb\u003eWeiss Gambit DS1\u003c\/b\u003e, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity. \u003cbr\u003e\u003cbr\u003e In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.\u003cbr\u003e \u003cul\u003e \u003cli\u003ePresets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor\/limiter type. \u003c\/li\u003e\n\u003cli\u003eMonitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals. \u003c\/li\u003e\n\u003cli\u003eBandsplitting: When touching \"bandwidth\" or \"frequency\", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner \/ center frequency. \u003c\/li\u003e\n\u003cli\u003eAttack, Release etc.: Attack, release delay and release fast\/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time. \u003c\/li\u003e\n\u003cli\u003eSoft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold. \u003c\/li\u003e\n\u003cli\u003eGain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor\/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e\u003cbr\u003e  \u003cbr\u003e\u003cbr\u003e \u003cb\u003eThe Weiss DS1-MKII - another leap into the future for the Gambit Series.\u003c\/b\u003e\u003cbr\u003e The Gambit DS1-MK2 is a compressor \/ limiter \/ de-esser, supporting all the features needed in a DVD or CD mastering environment: 96kHz 40bit processing, simultaneous de-essing and limiting spiced with a host of signal processing capabilities. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eFeatures added for the MK2 version are:\u003c\/b\u003e \u003cul\u003e \u003cli\u003e full band crossover in frequency selective mode (ranging from 41 Hz to 7.7kHz) \u003c\/li\u003e\n\u003cli\u003eupward expansion to re-introduce dynamics in previously compressed signals \u003c\/li\u003e\n\u003cli\u003ea second completely independent dynamics section working as a final peak-limiter in both modes (frequency selective and full band compressor) \u003c\/li\u003e\n\u003cli\u003eparallel compression mode for artefact-free operation \u003c\/li\u003e\n\u003cli\u003eadditional gain control in front of the peak-limiter for even higher loudness \u003c\/li\u003e\n\u003cli\u003e88.2 \/ 96 kHz operation \u003c\/li\u003e\n\u003cli\u003e POW-R dither \u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e Add to this the standard features of the DS1 (MIDI controller and snapshot remote control, touch sensitive knobs, backlit LCD, non-volatile backup memory for up to 3 x 128 snapshots, 24bit I\/O), and you have the most comprehensive full band and band selective dynamics tool available for money - our customers agree with that. \u003cbr\u003e\u003cbr\u003e Current DS1 owners can upgrade their units to the MK2 version by replacing the DSP board.","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449250672743,"sku":"8654","price":7329.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_ds1_mk3_1.jpg?v=1787088312"},{"product_id":"weiss-upgrade-from-ds1-mk2-to-ds1-mk3","title":"Weiss Upgrade from DS1-MK2 to DS1-MK3","description":"The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the \u003cb\u003eWeiss Gambit DS1\u003c\/b\u003e, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity. \u003cbr\u003e\u003cbr\u003e In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.\u003cbr\u003e \u003cul\u003e \u003cli\u003ePresets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor\/limiter type. \u003c\/li\u003e\n\u003cli\u003eMonitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals. \u003c\/li\u003e\n\u003cli\u003eBandsplitting: When touching \"bandwidth\" or \"frequency\", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner \/ center frequency. \u003c\/li\u003e\n\u003cli\u003eAttack, Release etc.: Attack, release delay and release fast\/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time. \u003c\/li\u003e\n\u003cli\u003eSoft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold. \u003c\/li\u003e\n\u003cli\u003eGain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor\/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.\u003c\/li\u003e\n\u003c\/ul\u003e \u003cbr\u003e\u003cbr\u003e  \u003cbr\u003e\u003cbr\u003e \u003cb\u003eThe Weiss DS1-MKII - another leap into the future for the Gambit Series.\u003c\/b\u003e\u003cbr\u003e The Gambit DS1-MK2 is a compressor \/ limiter \/ de-esser, supporting all the features needed in a DVD or CD mastering environment: 96kHz 40bit processing, simultaneous de-essing and limiting spiced with a host of signal processing capabilities. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eFeatures added for the MK2 version are:\u003c\/b\u003e \u003cul\u003e \u003cli\u003e full band crossover in frequency selective mode (ranging from 41 Hz to 7.7kHz) \u003c\/li\u003e\n\u003cli\u003eupward expansion to re-introduce dynamics in previously compressed signals \u003c\/li\u003e\n\u003cli\u003ea second completely independent dynamics section working as a final peak-limiter in both modes (frequency selective and full band compressor) \u003c\/li\u003e\n\u003cli\u003eparallel compression mode for artefact-free operation \u003c\/li\u003e\n\u003cli\u003eadditional gain control in front of the peak-limiter for even higher loudness \u003c\/li\u003e\n\u003cli\u003e88.2 \/ 96 kHz operation \u003c\/li\u003e\n\u003cli\u003e POW-R dither \u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e Add to this the standard features of the DS1 (MIDI controller and snapshot remote control, touch sensitive knobs, backlit LCD, non-volatile backup memory for up to 3 x 128 snapshots, 24bit I\/O), and you have the most comprehensive full band and band selective dynamics tool available for money - our customers agree with that. \u003cbr\u003e\u003cbr\u003e Current DS1 owners can upgrade their units to the MK2 version by replacing the DSP board.","brand":"Weiss Engineering","offers":[{"title":"Default Title","offer_id":44449250705511,"sku":"9541","price":1065.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/weiss_ds1_mk3_2.jpg?v=1787088312"},{"product_id":"chandler-ltd2-mastering-pair","title":"Chandler LTD2 Mastering Pair","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eChandler Limited LTD-2\u003c\/span\u003e is based on the 2254 compressor which is the class A predecessor to the 2264 and 33609.  Construction is similar to the LTD-1.  The same audio circuit with a modified set of controls (i.e. attack times not on original and more and faster release times).  The front panel controls are as follows- 20db gain make up, threshold, attack (6 positions), release (6 positions, including auto), stereo link and bypass.\u003cbr\u003e\u003cbr\u003eThe control functions and applications seem to be more similar to those of the venerable Neve 32264a and 33609, with the thick and rich audio qualities of the Neve 2254a and Neve 2254e.  On the whole, this unit is more than just another \"Neve-a-like\"... it takes the original Neve 2254 concept to the next level of tone and flexibility.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eEven faster release times\u003c\/li\u003e\n\u003cli\u003e1db stepped gain make\u003c\/li\u003e\n\u003cli\u003eSpecially matched for stereo\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449251623015,"sku":"5068","price":3590.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_ltd2_mastering_pair.jpg?v=1787088317"},{"product_id":"chandler-ltd2-mastering-single","title":"Chandler LTD2 Mastering - Single","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eChandler Limited LTD-2\u003c\/span\u003e is based on the 2254 compressor which is the class A predecessor to the 2264 and 33609.  Construction is similar to the LTD-1.  The same audio circuit with a modified set of controls (i.e. attack times not on original and more and faster release times).  The front panel controls are as follows- 20db gain make up, threshold, attack (6 positions), release (6 positions including auto), stereo link and bypass.\u003cbr\u003e\u003cbr\u003eThe control functions and applications seem to be more similar to those of the venerable Neve 32264a and 33609, with the thick and rich audio qualities of the Neve 2254a and Neve 2254e.   On the whole, this unit is more than just another \"Neve-a-like\"... it takes the original Neve 2254 concept to the next level of tone and flexibility.\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449251688551,"sku":"15259","price":1795.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_ltd2_mastering.jpg?v=1787088317"},{"product_id":"chandler-emi-tg12413-zener-limiter","title":"Chandler Limited EMI TG12413 Zener Limiter","description":"\u003cp\u003eThe \u003cstrong\u003eChandler Limited EMI TG12413 Zener Limiter\u003c\/strong\u003e is the ultimate TG limiter issued in celebration of the 75th birthday of Abbey Road Studios. The TG12413 Zener Limiter was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI circuits used to record The Beatles and Pink Floyd. It continues the tradition of EMI Limiters started in 1954 with the RS114 tube limiter and the 1968 RS168 Zener Limiter. The Zener Limiters were also part of the 1969 TG12345 console channel and the 1974 TG12413. This newest version borrows from the RS168 Zener Limiter and TG12345 console strip to make a full-featured and flexible unit for modern use.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe Zener Limiter is being reissued to add features and flexibility to the powerful and vintage sounding TG limiter circuits. Wade has added many new controls including switchable input impedance for hard or soft driving of the unit, 11-position attack, 21-position release, side chain filtering, and Comp 1, Comp 2, and Limit settings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAll TG units require and function on the \u003ca href=\"https:\/\/vintageking.com\/chandler-limited-psu-1-tg-ltd-germanium\"\u003eChandler Limited PSU-1\u003c\/a\u003e power supply (sold separately). The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V\/230V).\u003c\/p\u003e","brand":"Chandler Limited","offers":[{"title":"Default Title","offer_id":44449251721319,"sku":"7723","price":5499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/chandler_zenerlimiter_1_65a802c0-612f-46a5-a3e0-0da70b4f2ca5.jpg?v=1787088317"},{"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":"tc-electronic-finalizer-96k","title":"TC Electronic Finalizer 96K Studio Mastering Processor","description":"\u003cp\u003eThe Finalizer 96K's all new set of advanced features and enhancements, including 96kHz internal and external processing truly puts the world of professional mastering within reach of every studio - large or small. \u003c\/p\u003e\u003cp\u003eInserted between the stereo output of your mixer or workstation and your master recording media, the Finalizer 96K dramatically rounds out your material, creating that \"radio ready\" sound - previously unattainable outside a professional mastering house.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWhat does the FInalzer 96K do?\u003cbr\u003e\u003c\/b\u003eWhen you use the Finalizer 96K you can easily enhance the Dynamics of your mix while you mix. 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