{"title":"Channel Strips","description":null,"products":[{"product_id":"avalon-vt-737sp","title":"Avalon VT-737SP Tube Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eAvalon VT-737SP\u003c\/strong\u003e is a channel strip featuring a combination of tube preamplifiers, opto compressor, sweep equalizer, output level and VU metering in a 2U space.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003ePREAMPLIFIER\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe VT-737SP has three input selections:\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eThe VT-737SP features a higher-performance microphone input transformer with +48V phantom selection\u003c\/li\u003e\r\n\u003cli\u003eInstrument DI high source input with jack located on front panel\u003c\/li\u003e\r\n\u003cli\u003eBalanced line input, discrete high-level Class A\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003cp\u003eThe Class A preamplifier utilizes two cascaded, dual vacuum tube triodes configured with minimum negative feedback.  A high gain switch boosts the overall gain of the preamplifier.  The four high quality tubes are configured as singled ended anode coupled followers.  A passive-variable high pass filter and hard-wire relay bypass completes the input signal conditioning. The phase reverse relay is available on all three inputs.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eOPTO COMPRESSOR\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe opto compressor features a minimum signal path design with twin Class A vacuum tube triodes for gain matching.  The optical attenuator acts as a simple passive level controller.  Full dynamic control from soft compression to hard- knee limiting can be achieved with threshold, ratio-compression, attack and release controls plus gain reduction selection on the large VU meter. Special spectral control including de-ess is available with the dual sweep mid EQ to side-chain switch. The EQ section can be flipped pre or post the opto compressor via a front panel switch for alternate effects and tone shaping.  Two VT-737SPs can be linked via a rear panel link cable for stereo tracking. The compressor bypass is a sealed silver relay for the most direct signal path.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eSWEEP-EQUALIZER AND OUTPUT LEVEL\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe VT-737SP equalizer utilizes 100% discrete, Class A high-voltage transistors for optimum sonic performance.  The high and low frequency bands provide the smooth characteristics of an all passive design, while the dual mid bands include variable frequency and switched Q-width selection.  The enhanced range of the mid bands is extended into the high and low bands by the use of X10 frequency multipliers.  The bypass switch incorporates a sealed silver relay for the most direct signal path. When the EQ to sidechain is engaged, the high-low EQ remains in the audio path for \"tone enhancement.\"  The output level control provides a variable control of the overall signal path.  The output amplifier utilizes another dual triode vacuum tube driving a 100% discrete, Class A, high-current, balanced and DC coupled low noise output amplifier.\u003c\/p\u003e","brand":"Avalon Design","offers":[{"title":"Default Title","offer_id":44449239629927,"sku":"4903","price":3866.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/avalon-vt-737sp-23_4903_1.jpg?v=1787088270"},{"product_id":"avalon-vt-737sp-10th-anniversary-edition","title":"Avalon VT-737SP Tube Channel Strip - 10th Anniversary Edition","description":"\u003cp\u003eThe \u003cstrong\u003eAvalon VT-737SP\u003c\/strong\u003e is a channel strip featuring a combination of tube preamplifiers, opto compressor, sweep equalizer, output level and VU metering in a 2U space.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003ePREAMPLIFIER\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe VT-737SP has three input selections:\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eThe VT-737SP features a higher-performance microphone input transformer with +48V phantom selection\u003c\/li\u003e\r\n\u003cli\u003eInstrument DI high source input with jack located on front panel\u003c\/li\u003e\r\n\u003cli\u003eBalanced line input, discrete high-level Class A\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003cp\u003eThe Class A preamplifier utilizes two cascaded, dual vacuum tube triodes configured with minimum negative feedback.  A high gain switch boosts the overall gain of the preamplifier.  The four high quality tubes are configured as singled ended anode coupled followers.  A passive-variable high pass filter and hard-wire relay bypass completes the input signal conditioning. The phase reverse relay is available on all three inputs.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eOPTO COMPRESSOR\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe opto compressor features a minimum signal path design with twin Class A vacuum tube triodes for gain matching.  The optical attenuator acts as a simple passive level controller.  Full dynamic control from soft compression to hard- knee limiting can be achieved with threshold, ratio-compression, attack and release controls plus gain reduction selection on the large VU meter. Special spectral control including de-ess is available with the dual sweep mid EQ to side-chain switch. The EQ section can be flipped pre or post the opto compressor via a front panel switch for alternate effects and tone shaping.  Two VT-737SPs can be linked via a rear panel link cable for stereo tracking. The compressor bypass is a sealed silver relay for the most direct signal path.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eSWEEP-EQUALIZER AND OUTPUT LEVEL\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe VT-737SP equalizer utilizes 100% discrete, Class A high-voltage transistors for optimum sonic performance.  The high and low frequency bands provide the smooth characteristics of an all passive design, while the dual mid bands include variable frequency and switched Q-width selection.  The enhanced range of the mid bands is extended into the high and low bands by the use of X10 frequency multipliers.  The bypass switch incorporates a sealed silver relay for the most direct signal path. When the EQ to sidechain is engaged, the high-low EQ remains in the audio path for \"tone enhancement.\"  The output level control provides a variable control of the overall signal path.  The output amplifier utilizes another dual triode vacuum tube driving a 100% discrete, Class A, high-current, balanced and DC coupled low noise output amplifier.\u003c\/p\u003e","brand":"Avalon Design","offers":[{"title":"Default Title","offer_id":44449239662695,"sku":"11196","price":2475.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/avalon_vt737sp10_1.jpg?v=1787088270"},{"product_id":"buzz-audio-arc1-1-channel-strip","title":"Buzz Audio ARC1.1 Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eBuzz Audio ARC 1.1 \u003c\/strong\u003eis a outboard channel strip combining a mic\/line preamp, equalizer, compressor and limiter in one box.  It has primarily been designed for recording and processing the human voice and sports a host of features that have been inspired by suggestions from audio professionals from around the globe.  The ARC includes tried and trusted elements from other Buzz Audio products plus some new innovations specifically developed for this unit.  Whilst aimed at vocal recording and processing, the ARC is a useful tool for all sorts of recording and mixing applications.  With all the connection and routing options available, the ARC may be used as a separate Mic Preamp, DI Box, Equalizer and Compressor\/Limiter (optionally with sidechain EQ), all at the same time.\u003c\/p\u003e","brand":"Buzz Audio","offers":[{"title":"Default Title","offer_id":44449241268327,"sku":"4752","price":2450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/buzz-audio-arc-1-1_4752_1.jpg?v=1787088274"},{"product_id":"dbx-286s","title":"DBX 286s Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003edbx 286s\u003c\/strong\u003e is a full-featured channel strip processor that delivers a studio-quality microphone\/instrument preamplifier and four processors that can be used independently or in any combination. Why mic up vocals and instruments through a noisy, blurry mixer? The sonically pristine dbx 286s Mic Preamp has all the features you need, including wide-ranging input gain control, switchable +48V phantom power, and an 80 Hz high-pass filter to remove low-frequency hum, rumble or wind. Use the patented dbx OverEasy compressor to transparently smooth out uneven acoustic tracks or deliver that classic \"in your face\" vocal performance that only a dbx compressor can. Eliminate vocal sibilance and high-frequency distortion from instruments such as cymbals with the frequency tunable De-Esser. Fine-tune the Enhancer HF Detail control to add sparkle and crispness to your tracks and make adjustments to the LF Detail control to add fullness and depth to vocals and bass instruments while cleaning up the muddy low midrange frequencies. And, the separate threshold and ratio controls on the Expander\/Gate allow you to subtly reduce headphone leakage or radically gate noisy guitar amps.\u003c\/p\u003e\r\n\u003cp\u003eThe dbx 286s offers a full complement of metering and status LEDs to visually guide you to achieving the right sound. The floating balanced XLR Mic Input accepts balanced or unbalanced inputs to easily connect to professional and home studio microphones. The additional 1\/4\" TRS Line Input can accept balanced\/unbalanced signals to process live electronic instruments or pre-recorded tracks at mixdown. Use the Insert jack to interface between the Mic Preamp and the signal processing sections to \"loop out\" to external processors (such as EQ or delay unit) or to mix the Mic Preamp's signal out to an external destination.\u003c\/p\u003e\r\n\u003cp\u003eThe cost and hassle of patching together multiple processors for use on one track can be frustrating. The dbx 286s provides you with all the mic processing you need in one box, with the shortest, cleanest signal path to keep your music sounding its best!\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":44449242120295,"sku":"805","price":339.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dbx-286s-21_805_1_7dacf609-9fa7-414f-95b4-69ea58250e26.jpg?v=1787088278"},{"product_id":"drawmer-mxpro-60-front-end-one","title":"Drawmer MXPRO-60 Front End One Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer MX Pro 60 Front End One\u003c\/strong\u003e is a unique mic\/line\/instrument input channel in a single rack space providing high quality Drawmer processing prior to tape\/hard disc recording.  The MX60 is also ideally suited to project studio and live sound applications.  Functioning as a studio grade mic pre-amp, Program Adaptive gate, de-esser, compressor, limiter, three band EQ and multi band tube saturation stage, the MX60 offers the user more options than competitive units currently available. \u003cbr\u003e\u003cbr\u003eGrass Roots - The MX60 draws its technology from the most successful of Drawmer products.  The mic pre-amp features the same discrete component design found in the legendary Drawmer 1960, the de-esser is derived from the MX50, the VCA based compressor is similar to the MX30, while the peak limiter and gate can be tracked back to the DL241 compressor\/limiter. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eControls:\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eInput Stage:\u003c\/strong\u003e The input stage may be switched to accept mic, line, or instrument level signals - the XLR mic input has switchable 48V phantom power and phase reverse, while the line input is on both a balanced +4dB TRS jack and an unbalanced -10dB jack.  A high impedance Instrument jack is located on the front panel for use with electric guitars, basses, synths and drum machines. \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eProgram Adaptive Gate:\u003c\/strong\u003e Drawmer's proprietary Program Adaptive circuitry means that all the time constants are automatically optimized for the material being processed. This enables stable gating and eliminates 'chatter' around threshold.  Controls via a single variable threshold and switchable fast\/slow auto release. \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eDe-Esser:\u003c\/strong\u003e Floating threshold de-ess operation where the de-esser automatically and continually readjusts its own threshold level.  The MX60 de-esser is almost completely automatic requiring the user only to select a switchable male or female setting and to adjust the amount of de-essing required. Only the sibilant sounds are subjected to gain reduction so that the lisping effect of simpler de-essers is avoided. \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eEQ:\u003c\/strong\u003e High and low shelving sections as well as fully parametric mid range EQ with variable frequency, 'Q', and ±18dB cut\/boost. \u003c\/li\u003e\r\n\u003cli\u003eCompressor:  High quality VCA compressor based on that of the MX30 and DL24.  Both the attack and release times are Program Adaptive leaving the user with only ratio, threshold and make-up gain to adjust. \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eTube sound:\u003c\/strong\u003e Multi band 'tube saturation' allows users to create subtle warming, high frequency effects or out-and-out obvious effects via three separate, independently adjustable audio bands.  Low settings on all bands enable replication of classic tube mic sounds. \u003c\/li\u003e\r\n\u003cli\u003e\n\u003cstrong\u003eOutput:\u003c\/strong\u003e The output stage includes a limiter with a preset threshold (+16dB) and a variable master fader with output bargraph metering which sets the overall output level from OFF to +15dB.  A two stage soft\/hard limiting approach has been adopted with yellow and red LEDs signifying soft (approaching limit point) and hard limiting (hitting limit point). \u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449242546279,"sku":"3057","price":1139.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_mxpro-60_1.jpg?v=1787088279"},{"product_id":"empirical-labs-track-pack","title":"Empirical Labs Track Pack","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eEmpirical Labs Mike-E™\u003c\/span\u003e is a modern digitally controlled Microphone Preamplifier chocked with unusual features to warm and soften the source, along with an excellent compressor\/limiter.\u003cbr\u003e\u003cbr\u003eMike-E offers an incredible performance transformer-coupled mic preamp, whose noise floor is far below any microphone’s self noise.  The one-of-a-kind ‘CompSat’ section is an uncompromising compressor and saturator circuit that offers versatile ‘coloring’, and classic knee compression. \u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eMic Preamp Section\u003c\/span\u003e\u003cbr\u003eThis is a super low noise transformer input amplifier section, with the gain digitally controlled.  This section comes standard with a shielded Lundahl transformer, but provides for a Jensen transformer also.\u003cbr\u003e\u003cbr\u003eThe signal to noise far exceeds any microphone in existence, typically over 130 dB with the input shorted and 40dB of gain.  Having used many mic preamps over the years, we have implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches. \u003cbr\u003e\u003cbr\u003eCounting the output gain of 14 dB, a total 74 dB of gain is available to the user with the CompSat section bypassed.  A 48 Volt Phantom power is provided for condenser mikes.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eExclusive CompSat™ Section\u003c\/span\u003e\u003cbr\u003eThis unique circuitry sets the Mike-E apart from all other mic preamplifiers.  It has four sections:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eSaturator\u003c\/span\u003e – This is a multi-stage soft clipping circuit.  At lower levels, a triode type saturation affects the signal.  As the level increases, a second unique clip circuit that includes Germanium semiconductors starts to more severely flatten out the peaks.  An LED named “BAD!” indicates harder un-musical clipping.\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eCompressor\u003c\/span\u003e – This is an uncompromising compressor\/limiter circuit that allows detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which adjusts the level going into the compressor.  In ways it is Distressor-like, but has other differing characteristics including a much longer available attack time, and additional circuitry.  Four ratios are provided, 2:1 being the gentlest with a long 20dB knee, good for subtle compression such as while tracking or on the Buss.  Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter like) and has a different attack \u0026amp; release shape.\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eEmphasis\u003c\/span\u003e - The Emphasis is actually two circuits that surround the compressor and saturator, as shown in the block diagram.  The Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the frequencies complementary after the CompSat.  Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with.\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eMix Control\u003c\/span\u003e - The modern recording engineer often employs the technique of mixing between the compressed and the dry (or uncompressed) signal.  This can often help maintain transients and a sense of dynamic range while enhancing the low level nuances.  Mike-E has a built in mix control to submix in the uncompressed signal to the compressed signal.  As the user rotates the MIX control from full right to full left, he goes from the full compressed signal to the full dry signal (absent of any compression or saturation).\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eMike-E's Seven circuits\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eMic Preamplifier with super low noise \u0026amp; stepped gain switching\u003c\/li\u003e\n\u003cli\u003eBuilt in ‘Direct Box’, called the ‘Inst In’, offers unparalleled distortion, noise, and frequency response when pre-amping instruments\u003c\/li\u003e\n\u003cli\u003e‘Colored’ 80Hz High pass filter emulates the warm low frequency cut of our favorite vintage equalizers\u003c\/li\u003e\n\u003cli\u003ePhase Switch to invert the audio signal 180 degrees\u003c\/li\u003e\n\u003cli\u003eCompSat offers both a musical Compressor\/Limiter and a unique tape-like saturation circuit\u003c\/li\u003e\n\u003cli\u003eEmphasis high-frequency emphasis system softens high\u003c\/li\u003e\n\u003cli\u003efrequency ‘pile-ups’ and further the creamy color of the Mike-E\u003c\/li\u003e\n\u003cli\u003eMix Control allows the blending of the Compressed\/Saturated signal with the clean unprocessed “Dry” signal\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: bold;\"\u003eSpecifications:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFreq. Response is 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz. Optional Transformer output is 6Hz–80kHz\u003c\/li\u003e\n\u003cli\u003eSignal to Noise - 130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu\u003c\/li\u003e\n\u003cli\u003eDistortion Ranges between .0006% and 15% depending on mode and settings\u003c\/li\u003e\n\u003cli\u003eTransformer coupled Input, Active and Transformer Outputs available - high quality audio caps used internally\u003c\/li\u003e\n\u003cli\u003eInput Impedance is 600 Ohms. Output impedance is less than 38 ohms\u003c\/li\u003e\n\u003cli\u003eAttack\/Decay Ranges - .9 – 100mS attack. .15 – 1 Sec\u003c\/li\u003e\n\u003cli\u003ePower Consumption – 15 Watts Max\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe \u003cstrong\u003eEmpirical Labs Lil FrEQ\u003c\/strong\u003e delivers complete, precise, professional EQ control in a compact, 1u rack box.  The Lil FrEQ offers \"colored\" low frequency shaping, smooth shelving, and four bands of the surgical Parametric EQ that engineers depend on time after time.  All of this power comes with nothng but the absolute highest performance.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe EQ Sections\u003c\/strong\u003e \u003cstrong\u003eHP\u003c\/strong\u003e - The High Pass section is a sharp filter that cuts all content below one of eight pre-selected frequencies.  Empirical Labs calls this particular filter a \"colored\" filter since it is very steep and has a special shape that prevents thinning out frequencies just above the cutoff frequency.  The corner frequency is indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged.  As with all the EQ section in the Lil FrEQ, there is a dedicated bypass switch.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHigh and Low Shelving\u003c\/strong\u003e - These are very similar to your standard \"Tone Control\", but extremely high performance, providing exceptionally smooth boost and cut on the \"bass\" and \"treble\" frequencies.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eParametric EQ Sections\u003c\/strong\u003e - There are four sections of fully parametric EQ... possible the cleanest parametric EQ section ever produced - operating below 0.0007% THD at extremely high audio levels.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDynamic EQ Section\u003c\/strong\u003e - The DS section combines filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants, especially in the absence of other lower frequency content.  There are two modes of operation, with threshold control as well as a frequency select control. There are four LEDs that indicate the amount of Gain Reduction: -1dB, -4dB, -8dB, -12dB.  The Ds section provides the highest performance, easiest to use, and most natural De-esser ever built, as well as a one of a kind, soft-knee High Frequency Limiter.\u003c\/p\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":44449243005031,"sku":"13077","price":4199.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/empirical_labs_track_pack.jpg?v=1787088282"},{"product_id":"empirical-labs-mike-e-channel-strip","title":"Empirical Labs EL-9 Mike-E Channel Strip","description":"\u003cp\u003eIn today’s modern age of digital recorders, DAWs and software plug-ins, The \u003cstrong\u003eEmpirical Labs EL-9 Mike-E\u003c\/strong\u003e is the ultimate solution for getting a clean and strong, yet warm and musical signal into the box… and it couldn’t be easier to work – its front panel layout is so straight ahead that even inexperienced engineers will have no problem moving around on it right away.\u003c\/p\u003e\r\n\u003cp\u003eWhen the engineering team at Empirical Labs sets out to build a microphone preamp, you can be sure it’ll deliver spectacular sound, be effortless to work, and will provide features unlike any other device in its class. To that end, Empirical Labs proudly present Mike-E, a high performance transformer-coupled mic preamp with a noise floor far below any microphone’s self noise, combined with a one-of-a-kind compressor\/saturator circuit that delivers classic knee compression as well as versatile tonal ‘coloring’ that can replicate many of the best characteristics of vintage analog recording equipment.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eMIC PREAMP\u003c\/h3\u003e\r\n\u003cp\u003eThe Mike-E features a super low noise transformer input amplifier section with the gain under precise digital control. The signal to noise far exceeds any microphone in existence. Having used many mic preamps over the years, Empirical Labs have implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches. A “Bad!” LED indicates when the input signal is overloading the circuit.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eCOMPSAT\u003c\/h3\u003e\r\n\u003cp\u003eThe CompSat’s unique circuitry sets the Mike-E apart from all other mic preamps.\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eSATURATOR: a multi stage soft-clipping circuit. At lower levels, a triode-type saturation affects the signal. As the level increases, a second unique clip circuit starts to more severely flatten out the peaks.\u003c\/li\u003e\r\n\u003cli\u003eCOMPRESSOR: based on ELI’s world famous Distressor, but with other characteristics (including a much longer attack time). Preset ratios include: 2:1, 4:1, 8:1… and, of course, Nuke.\u003c\/li\u003e\r\n\u003cli\u003eEMPHASIS: a two-stage circuit that boosts and soft clips high frequencies before the CompSat circuit, and then cuts the frequencies after it. Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with.\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Empirical Labs","offers":[{"title":"Default Title","offer_id":44449242972263,"sku":"10992","price":1699.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/empirical-labs-el-9_10992_1_bb40718a-e3b2-41aa-ad4b-fbe8895a630b.jpg?v=1787088282"},{"product_id":"focusrite-isa-430-mkii-producer-pack","title":"Focusrite ISA 430 MKII Producer Pack","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eFocusrite ISA 430 MKII\u003c\/span\u003e represents the pinnacle of Focusrite’s analogue channel strip technology, bringing together all the classic designs in one comprehensive production tool.  Augmented with additional features and flavours, alongside unmatched internal routing and connectivity, the ISA 430 MKII enables today’s recording professional to enjoy the unique sonic contribution of these heritage designs within one extremely versatile processor. \u003cbr\u003e \u003cbr\u003e Focusrite’s iconic status as the leading manufacturer of channel strips remains unrivalled. \u003cbr\u003e \u003cbr\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eClassic Focusrite transformer-based Mic-pre with variable impedance and ‘Air’ feature \u003c\/li\u003e\n\u003cli\u003eMulti format Compressor; switch between Focusrite’s transparent VCA circuit and a vintage optical circuit \u003c\/li\u003e\n\u003cli\u003eUnmatched flexibility with an incredible variety of insert points and variable signal path arrangements\u003c\/li\u003e\n\u003cli\u003eAbility to function as four separate modular processors: mic pre, EQ, Dynamics and stereo ADC \u003c\/li\u003e\n\u003cli\u003ePrecision VU metering of input level, Insert 1 or 2 Return level, Compressor gain reduction or Sidechain listen level (switched)\u003c\/li\u003e\n\u003cli\u003eClassic Focusrite EQ design; an expanded version of the original ISA 110 \u003c\/li\u003e\n\u003cli\u003ePost mic pre output for the shortest possible signal path \u003c\/li\u003e\n\u003cli\u003eProprietary Focusrite discrete Class A VCA Gate and Expander designs\u003c\/li\u003e\n\u003cli\u003e‘Listen’ feature for precise control over compression, gating, expansion and de-essing \u003c\/li\u003e\n\u003cli\u003eDe-esser design based on optical technology for lower distortion and transparency \u003c\/li\u003e\n\u003cli\u003eSoft Limiter to avoid critical digital overload \u003c\/li\u003e\n\u003cli\u003eOptional Stereo A\/D – 24 bit 192 kHz Delta Sigma converter \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eLine \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eGain Range: +10dB to +40dB continuously variable \u003c\/li\u003e\n\u003cli\u003eInput Impedance: \u0026gt;1M Ohm \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMic \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eGain Range: 0 to +60dB in 10dB steps \u003c\/li\u003e\n\u003cli\u003eInput Impedance: Variable as follows: 600 Ohm, 1k4 Ohm, 2k4 Ohm, 6k8 Ohm \u003c\/li\u003e\n\u003cli\u003eEIN: -128dB with 150 Ohm terminating impedance at 60dB of gain \u003c\/li\u003e\n\u003cli\u003eNoise: -97dBu \u003c\/li\u003e\n\u003cli\u003eTHD: 0.001% with -20dBu 1kHz input and 20Hz?22kHz bandpass filter \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCompressor (VCA mode) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThreshold Range: -28dB to +12dB •\tRatio: 1.5:1 to 10:1 \u003c\/li\u003e\n\u003cli\u003eSlope: Soft knee \u003c\/li\u003e\n\u003cli\u003eAttack: 100µs to 100ms \u003c\/li\u003e\n\u003cli\u003eRelease: 100ms to 7s, variable or auto (program dependent) \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCompressor (Vintage Opto mode) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThreshold Range: -28dB to +12dB \u003c\/li\u003e\n\u003cli\u003eRatio: 1.5:1 to 5:1 in Comp mode, 5:1 to 20:1 in Lim mode \u003c\/li\u003e\n\u003cli\u003eSlope: Soft knee in Comp mode, Hard knee in Lim mode \u003c\/li\u003e\n\u003cli\u003eAttack: Fixed •\tRelease: Fixed \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eEQ \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLow Pass Filter: 18dB\/oct from 400Hz to 22kHz \u003c\/li\u003e\n\u003cli\u003eHigh Pass Filter: 18dB\/oct from 20Hz to 1k6Hz \u003c\/li\u003e\n\u003cli\u003eParametric section is comprised of: Low-mid \u0026amp; Hi-mid parametric, each with continuously variable boost\/cut with centre detent, frequency sweep control with two ranges, and fully variable Q. Low-mid frequencies 40Hz to 400Hz (120Hz to 1k2Hz when x3 is pressed). Hi-mid frequencies 600Hz to 6kHz (1k8Hz to 18kHz when x3 is pressed) \u003c\/li\u003e\n\u003cli\u003eShelving section is comprised of: High Frequency Shelf: The frequency range steps are 1.5kHz, 3.3kHz, 6.8kHz and 15kHz (2.2kHz, 4.7kHz, 10kHz and 18kHz when Hi Range is engaged). 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Augmented by fully digital controls and optional remote software, the Liquid Channel provides the ultimate fluid vintage collection.\u003c\/p\u003e\n\u003cp\u003eRather than creating a similar sound to vintage units, as with modelling devices, the Liquid Channel precisely replicates their sonic behavior.  This is achieved through Dynamic Convolution, the application of a unique, level-dependant set of responses to an audio signal.  These measured responses, sampled at numerous levels and with every possible setting combination, are applied to the input stream on a sample-by-sample basis for accurate replication.\u003c\/p\u003e\n\u003cp\u003eMic-pre replication can't be achieved with software alone.  Hardware is required in addition to account for the physical interaction with the microphone.  As a result, Focusrite invested vast amounts of time and energy into designing and building the ultimate \"liquid\" preamplifier, able to match the input impedance and signal path (transformer or electronic) of the device being replicated.\u003c\/p\u003e\n\u003cp\u003eSecond order harmonic distortion is a beneficial artifact of analog circuits (especially tube and transformer-coupled designs) providing the much-loved warmth. However, often two units of the same type will vary in the amount of second order distortion produced, so an additional control for modifying this vintage property is provided.  This allows for precise matching of the Liquid Channel to your own beloved mic pre.\u003c\/p\u003e\n\u003cp\u003eThe Liquid Channel combines a highly complex, massively flexible analog front-end with Dynamic Convolution processing, which utilizes lightening-fast SHARC chips and runs at sample rates of up to 192kHz.  The front panel controls are digital, with tactile rotary encoders; all parameters can be stored in one of 99 program memories. At the press of button, you can reload all mic-pre, compressor and EQ settings for an individual session.  If using the Liquid Channel in conjunction with a recording platform (e.g. Pro Tools), both the session files and the Liquid Channel's program memory can be sent via standard data transfer methods, providing a completely mobile recording session.  Perfectly replicated vintage classics with the power and ease of use of the digital domain.\u003c\/p\u003e\n\u003cp\u003eThe USB port on the rear panel allows remote control of the Liquid Channel, leaving the processor safely racked away. \u003c\/p\u003e","brand":"Focusrite","offers":[{"title":"Default Title","offer_id":44449243168871,"sku":"4655","price":1999.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/focusrite_liquid_channel_1.jpg?v=1787088282"},{"product_id":"grace-design-m103","title":"Grace Design m103 Channel Strip","description":"\u003cp\u003eThe new \u003cstrong\u003eGrace Design m103\u003c\/strong\u003e is a powerful tracking tool for virtually any recording scenario.\u003cbr\u003e \u003cbr\u003e It starts with a tried and true m101 transformer-less microphone preamplifier circuitry.  Headroom, detail, clarity, musicality – its all there.  Complete with an exclusive ribbon mic mode, a 75Hz HPF and 48V phantom.\u003cbr\u003e \u003cbr\u003e The three-band EQ section is built around single stage parallel tuning architecture, which minimizes circuitry and delivers natural, musical tonal shaping at all frequencies.  Controls include a fully parametric mid, with shelving and peak modes on the high and low bands.\u003cbr\u003e \u003cbr\u003e The compressor circuit is based on an optical attenuator - the purest, high fidelity gain control mechanism available.  It provides gentle limiting to fairly heavy compression, while remaining nuetral and transparent.  The perfect way to zip it all up and send it downstream - clean, intact and alive.\u003cbr\u003e \u003cbr\u003e Comprehensive I\/O options allow the mic pre and EQ\/COMP sections to be accessed independently of each other, and the order of the EQ\/COMP is switchable.  The compressor controls can be linked for stereo applications, and 10 segment gain reduction and output meters make monitoring signal status simple.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Grace Design","offers":[{"title":"Default Title","offer_id":44449243299943,"sku":"14238","price":2358.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/grace_m103_1.jpg?v=1787088283"},{"product_id":"gyraf-audio-gyratec-ii","title":"Gyraf Audio Gyratec II","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eGyraf Audio Gyratec II\u003c\/span\u003e is basically an all-tube recording channel, combining a microphone\/line preamp, an equalizer and an optical compressor.  Although solid state electronics is used - in power supply and sidechain - the audio signal never gets touched by anything but tubes, transformers and passives, very different from most “tubed” consumer-type studio gear.\u003cbr\u003e\u003cbr\u003eThe signal flow is simple, all functions are realized with use of only four double triodes - the 5814 military type.  This tube can be substituted with standard ECC82 or 12AU7A types, so you dont have to worry about tube availability for the near future.\u003cbr\u003e\u003cbr\u003eThe input switch selects between “Instrument” (DI for e.g Bass or Guitar) “Line”, “Mic” and “Mic 48V”.  The input impedance is 1K Ohm for the mic input, 10K Ohm for the Line input, and 1M Ohm for the Instrument input.\u003cbr\u003e\u003cbr\u003eThe Microphone and line inputs are of cause floating and transformer balanced - an interface standard used in all serious audio designs.\u003cbr\u003e\u003cbr\u003eThe gain switch sets the level of the incoming signal, before it is passed to the selectable Low-cut filter - a soft 6dB filter at either 15 (off), 80 or 160 Hz.  From here we drive the Equalizer circuit.\u003cbr\u003e\u003cbr\u003eThe Equalizer is a bypassable, three band, variable frequency boost\/cut type build around fixed-Q, passive 6dB filters.  The filters are optimized for gentle corrections, and you should’nt expect them to do anything bizarre like telephone-type of sound or the like; they’re merely for sweetening the tone of your input signal.  Each band has six switchable frequencies, set at spots that we worked quite a bit on getting right.  The low and the high bands are “shelving” type controls, the mid is a “bell” curve.\u003cbr\u003e\u003cbr\u003eNext in line is the Compressor. This is based on the optical principle, that is, the gain reduction element is a light dependent resistor, controlled by a light that changes in proportion to the audio signal. This is also how classics like UA’s LA2, LA3 and LA4 - among many others - work. The controlling input for the compressor is taken either from the input or the output of the equalizer section, in reality making it up to you to decide if you want the compressor before the EQ, or the EQ before the compressor. This is selected with the “Comp” pre\/post switch, which also acts as compressor bypass in it’s middle position.\u003cbr\u003e\u003cbr\u003eThe Compressor is fully adjustable, giving you control over Threshold (at what input level the compressor starts working), Ratio (how much it will do once it starts), Attack time (how fast it will attenuate loud signals) and Release (the amount of time it waits before releasing the attenuation).\u003cbr\u003e\u003cbr\u003eThe working of the compressor - actually the gain reduction introduced in this circuit - is monitored on the large VU-meter.  This is switchable, allowing you to monitor input level, output level, or gain reduction.\u003cbr\u003e\u003cbr\u003eFor most recording tasks this compressor is excellent, but again - like the EQ - you should’nt expect it to do something dramatic.  It is designed with signal integrety in mind, not as an effect.\u003cbr\u003e\u003cbr\u003eThis more or less concludes the Gyratec-II tour, we are now arriving at the output level control, setting the level for the final output driver stage, responsible for driving your further line of equipment.  The output is - like the input - floating transformer balanced to get rid of potentially problematic hum loops.  The output resistance is less than 1K Ohm, so driving all sorts of modern equipment - or even long cable runs - will never be a problem.\u003c\/p\u003e","brand":"Gyraf Audio","offers":[{"title":"Default Title","offer_id":44449243529319,"sku":"14722","price":2130.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/gyraf_audio_gyratec_ii.jpg?v=1787088284"},{"product_id":"manley-voxbox","title":"Manley VOXBOX Tube Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eManley Labs VOXBOX\u003c\/strong\u003e combines the legendary Manley Mono Mic Preamp, the ELOP reborn as a lower ratio compressor, the MID EQ blown out as a full range PEAK-DIP-PEAK EQ, and a DeEsser with a second ELOP limiter at the end. Using the Direct Input, bass players often wonder why it wasn’t named the BASSBOX.\u003c\/p\u003e\r\n\r\n\u003cp\u003ePrimarily, it is a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and well thought-out ergonomics. Full of features, timeless style, robust build quality, and that world-famous Manley Sound!\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eMICROPHONE PREAMP SECTION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe preamplifier Manley's renowned Mono Microphone Preamplifier! The mic input transformer is Manley's own design wound in-house at the Manley Labs factory. High-current 48V Phantom power is switchable from the front panel. A simple and effective passive BASS CUT switch kills rumble and reduces popping. The INPUT ATTENUATOR is a variable pad control situated before the first tube stage allowing the preamplifier to accommodate +4 line level signals via the balanced LINE INPUT and instruments via the front panel 1\/4\" DIRECT INPUT. These inputs are selected in the middle position of the dual-function phase invert switch. There is both a transformer balanced XLR output as well as a transformerless \"audiophile\" 1\/4\" phone jack output. The Gain switch is actually a clever variable feedback control that changes not only the gain but the slew rate and flavor of the circuit. With it you can choose how laid back and mellow or how up-front and aggressive you want it to get. Headroom is a strong point in this circuit with +31 dBu capable. This is 5 to 10 dB better than almost all other pro gear. The music passes through only super-clean pure Class A vacuum tube circuitry. There are obvious advantages to this purist approach and foremost is the un-electronic final sound that carries emotion into the digital realm.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eCOMPRESSOR SECTION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThis cool compressor design takes the opto-isolator approach of the Manley ELOP Limiter to the max. The Ratio has been adjusted down to 3:1 to turn the ELOP into a compressor and added ATTACK and RELEASE controls for more versatility. What is clever is how the signal is compressed before it hits the tubes with no detrimental effect on distortion or frequency response. This way, it can prevent mic pre clipping and eliminate whole stages of electronics. This cuts the typical path of mic to tape in half! Manley also pioneered new thinking in the sidechain by using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls - an approach called \"Parametric Compression.\" Manley developed optimum settings or presets based on the favorite Vactrols used in the fast ELOP Limiter, the quick LA-2A's T-4 module, the slower LA-3A and then created more complex special settings. This extended range and method of timing delivers fresh sounds from powerhouse punching drums to super-solid bass yet can also emulate the way good engineers delicately ride a fader while recording. It is transparent and liquid-smooth on vocals, easy to use and accurate. Also rare for an opto-based dynamic processor, this compressor works great on mixes. Of course, you'll be needing two VOXBOXes linked in stereo...\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eEQ SECTION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe EQ section features an expanded Pultec-style equalizer with 33 frequencies in 3 bands with 6 new frequencies from 20 Hz to 150 Hz, and 6 more in the highs from 6.4 kHz to 20 kHz. Ever notice that only EQs with real inductors have the bottom end magic or that only Class A circuitry can keep the top end sweet? This is for you. The EQ INPUT switch patches in the Line Input, Preamp Output, or the INSERT return. This switch serves double-duty acting as a bypass switch for the preamp and\/or external processors or for processing two different tracks.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_3\"\u003eDE-ESSER \u0026amp; LIMITER SECTION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eDesigned by folks with admittedly large gaps between their two front teeth, the VOXBOX combo also includes a de-esser and peak limiter based on the original ELOP Limiter design but with an added passive LC network to handle the de-essing four carefully chosen notch frequencies from 3 kHz to 12 kHz (that 3 kHz setting really tames those annoying frequencies!). The fifth position gives you a limiter which totally mimics the famous LA-2A. This means you can both compress pre-EQ then limit here post-EQ. Another cool feature is the ability to insert this de-esser silently and smoothly as the music plays, using it as needed.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_4\"\u003eTHE METER\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe METER is a full size illuminated Sifam VU meter. A five-position switch shows three audio levels: the line input, the preamp output and the final output. It also shows compressor gain reduction and the de-esser\/limiter action. Other clever innovations incorporated into the VOXBOX combo include warm-up muting circuitry, extensive magnetic field containment, 'smart -grounding,' and silent switching. The sum-total is more than the separate parts: consider the reduced patching, the short path to tape and you having this much immediate control. As engineers, we choose what we use not based entirely on features and functions - there is a sound, a texture we reach for and the VOXBOX combo puts the 'Manley Sound' together with 'Your Sound.'\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449244905575,"sku":"508","price":5499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley-voxbox_508_1.jpg?v=1787088290"},{"product_id":"millennia-td-1","title":"Millennia TD-1","description":"\u003cp\u003eBassists go crazy for the \u003cstrong\u003eMillennia TD-1\u003c\/strong\u003e, but bass is just one of the TD-1's many talents. A half-rack version of the flagship Origin STT-1 channel strip, the TD-1 features Millennia's Twin Topology, letting you choose between tube and solid-state flavors at the push of a button. A super-charged DI and so much more, the TD-1 puts the sound of Millennia's ultra-pure HV-3 preamp into your hands, along with the detailed yet subtly tube-tinged sound of Millennia's M-2B preamp. Whether you use it as a stage or studio bass\/guitar box or as a convenient grab-and-go microphone preamp, the sophisticated TD-1 is fully prepared for sonic sculpting, thanks to two bands of mastering-grade NSEQ-2 parametric EQ. What is more, Millennia included guitar power amp inputs with Speaker Soak technology, so you get a load-realistic sound, capturing the nuance and color of a live amplifier.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e Half-rack version of Millennia's premium channel strip\u003c\/li\u003e\n\u003cli\u003e DI with variable impedance Speaker Soak technology\u003c\/li\u003e\n\u003cli\u003e Nine outputs ready the TD-1 for use anywhere\u003c\/li\u003e\n\u003cli\u003e Millennia gear is made for detail\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eHalf-rack version of Millennia's premium channel strip\u003c\/strong\u003e\u003cbr\u003e When you want the best of what Millennia has to offer in one grab-and-go box, the TD-1 is your ticket. It's a half-rack version of Millennia's top-of-the-line channel strip, the Origin STT-1. Just like the Origin, the Millennia TD-1 offers both tube and discrete solid-state signal paths, followed up by two bands of mastering-grade EQ, all at excellent value.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e DI with variable impedance Speaker Soak technology\u003c\/strong\u003e\u003cbr\u003e The Millennia TD-1 does many things well, but it's particularly well suited for guitar and bass work. Onboard, there's a DI with variable impedance to match the box to your instrument. More than that, Millennia included their proprietary Speaker Soak technology, so you can run your amp's power output directly into it, for a load-realistic response that feels and sounds like you're playing live. Beyond that, Millennia primed the TD-1 for reamping and outfitted the box with a wide range of I\/O to meet your stage or studio needs. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eNine outputs ready the TD-1 for use anywhere\u003c\/strong\u003e\u003cbr\u003e Millennia took great measures to make sure the compact TD-1 box does everything but box you in. In addition to offering versatile sound characteristics, thanks to its Twin Topology design, the TD-1 sports nine outputs, so you can easily pipe into nearly any setup imaginable. Outputs include balanced and unbalanced line on XLR and 1\/4\" as well as two 1\/4\" reamp outputs, a direct out, a balanced transformer output, and an audiophile-quality headphone output. \u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eMillennia gear is made for detail\u003c\/strong\u003e\u003cbr\u003e Founder and chief designer John LaGrou takes the same approach to his exceptional audio gear as he does to the wine he cultivates in the California countryside. Detail matters, it's everything. Whether in a vintage of wine or your multi-track mix, taken together, those details can make a major difference in the end result. 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With its \"Twin Topology,\" the STT-1 Origin is designed for maximum flexibility, arming you with both solid-state and tube signal paths. Whether you choose the iconic, incredibly pure HV-3 preamp to start or Millennia's clear, precise tube signal path, you always have two different kinds of flavors to choose from to get the right sound for your recording. Continuing its \"Twin Topology\" design, the STT-1 Origin channel strip features tube and discrete solid-state versions of Millennia's elite NSEQ-2 mastering EQ as well as three opto-based mastering compressor\/limiter paths and twin opto de-esser paths to complete the total, highly flexible package.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eTHE BEST OF MILLENNIA IN ONE VERSATILE BOX\u003c\/h3\u003e\r\n\r\n\u003cp\u003eIf you're familiar with the boutique, meticulously designed quality of Millennia gear, then you know the Origin STT-1 represents the \"best-of,\" giving you an extremely flexible box for any application. The Origin STT-1's unique design starts with Millennia's \"Twin Topology,\" letting you switch between two separate signal paths, one tube and one solid-state, each with its own set of sound characteristics and flavor. With tube and solid-state versions of Millennia's premium NSEQ-2 mastering-grade parametric EQ and opto compressor\/limiter, the Millennia Origin STT-1 behaves like multiple channel strips in one, letting you quickly tap into everything Millennia has to offer.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eTWIN TOPOLOGY GIVES YOU THE MOST FLEXIBILITY\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe entire Millennia line is committed to musicality, from the pure voice of the renowned HV-3 solid-state preamp to the subtle, detailed splash of tube color you'll hear from the M-2B based preamp. With the Origin STT-1, you get both, thanks to Millennia's Twin Topology. You can instantly switch between solid-state and tube-based signal paths to find the sound characteristics you want for your project. The preamp voices are followed up by twin NSEQ-2 mastering-grade parametric EQs, again, tube or discrete solid state, depending on what you've selected. You'll find that the NSEQ-2 is a departure from the other parametric EQs you may have had your hands on. It's offers a sort of big, clear, clean, almost \"transparent\" EQ-ing that lets you dig in and sculpt your sound, without the problems with overdrive and distortion that plague other options. Outside of its flexible EQ, the Origin STT-1 offers a trio of opto compressor\/limiter paths. 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The equalizer has overlapping frequency selection on each band for total tonal control and shaping.\u003c\/p\u003e\u003cp\u003eThe Eureka is loaded with microphone, line and instrument input so you can use it as a front end preamplifier for recording with microphones, guitars, keyboards, synths as well as a compressor\/equalizer on a single channel during mixdown. 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Great for all types of microphones, instruments, keyboards and synths, the Studio Channel has the sonic power and flexibility to achieve any tone you can dream of – luscious in your face vocals, crystal clear acoustic guitars, fat solid bass guitar, dynamic acoustic piano, cracking snare, punchy bass, huge MPC tracks and more.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEnhance your signal path\u003c\/strong\u003e\u003cbr\u003eThe Studio Channel noticeably outperforms preamplifiers that are built-in to most recording interfaces and affordable mixers. Add a VCA-based compressor and studio-grade equalizer to the class A tube preamp and you get not only big fat tube tonality but also complete control of your tone and sounds. 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The compressor section is identical to the 5043 with fully adjustable threshold, ratio, attack, release, and makeup gain, as well as feed-forward\/feed-back VCA mode selection. Both mic pre and compressor have transformer coupled inputs \u0026amp; outputs so they can be run independently of each other, and multiple 5015 compressor sections may be linked together via the link buss.","brand":"Rupert Neve Designs","offers":[{"title":"Default Title","offer_id":44449247625319,"sku":"9267","price":1795.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/rupert_neve_portico_5015_vertical_1.jpg?v=1787088299"},{"product_id":"rupert-neve-designs-portico-5017","title":"Rupert Neve Designs Portico 5017 DI\/Mic Preamp\/Compressor","description":"\u003cp\u003eComprised of a rugged, portable chassis with world-class preamp, compressor and DI circuits as well as two channel operation, Vari-phase, Silk and DI\/mic blending capabilities, the \u003cstrong\u003eRupert Neve Designs Portico 5017\u003c\/strong\u003e is an innovative and powerful tool for recording or live performance.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eTWO DISTINCT CHANNELS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe 5017 provides two preamps: one tailored for Mic\/Line sources, and the other for Instrument level sources. Each channel has a dedicated line output, allowing for the 5017 to be used in a multitude of ways. From having full control over a vocal mic plus an acoustic guitar to capturing a guitar\/bass DI and miked amplifier simultaneously, the 5017 gives the power to the artist.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eTHE BLEND AND VARI-PHASE CONTROLS\u003c\/h3\u003e\r\n\r\n\u003cp\u003ePerhaps the most powerful features on the 5017 are the ‘BLEND’ and ‘VARI-PHASE’ controls. These controls work in tandem to dial in the ideal blend of a DI and Mic of the same source. Adjusting the ‘VARI-PHASE’ control once both preamps are set ensure no strange phase cancellation is working against you while blending 2 versions of the same source together. These controls can also be used to create a quick mix of a vocal and guitar without a mixing console, which is handy in either a live performance or live recording situation. And since the Mic Input also accepts line level sources, these features can be used to ‘re-amp’ sources that have already been recorded with the stellar instrument input. So many possibilities in such a compact box!\u003c\/p\u003e","brand":"Rupert Neve Designs","offers":[{"title":"Default Title","offer_id":44449247658087,"sku":"14431","price":1499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/rnd-5017-23_14431_1.jpg?v=1787088300"},{"product_id":"rupert-neve-designs-portico-ii-channel-strip","title":"Rupert Neve Designs Portico II Channel Strip","description":"For recording and mixing engineers, the greatest challenge will always be to capture and transform disparate 2-D elements into an engrossing 3-D vision that elicits the same raw emotions and compelling vibrance as the live performance. In designing the \u003cspan style=\"font-weight: bold;\"\u003eRupert Neve Portico II Channel Strip\u003c\/span\u003e, every possible attention has been paid towards not only producing the most accurate, sweet sounding audio topologies, but also enabling engineers to boldly shape or fine tune tracks to the limit of their imaginations.\u003cbr\u003e \u003cbr\u003e A self-powered 2U channel module comprised of a fully- featured mic preamplifier, 4-band EQ, compressor-limiter, “texture”control and level metering, The Portico II Channel includes a bevy of new features including: Variable Silk \/ Silk+ Texture control, a fully tunable “de-esser”, multiple VCA filtering and detection options, a transient-optimized swept HPF and parallel compression blending. With its simple yet powerful topologies and extensive feature set, every element of the Portico II: Channel is geared towards empowering recording artists to realize these visions.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eInput Section\u003c\/span\u003e\u003cbr\u003e Input signals may be derived from any of three sources; Microphone, Line or DI. The Microphone input has a 10K Ω non-reactive input resistance that handles a full 26dBu signal without the need for a pad. A primary Gain control provides 66dB of gain in 6dB increments for easy recall with a +\/- 6dB Trim for fine adjustment. A transient-optimized HPF continuously covering the range from 20-250Hz is included. In addition the usual 48V Phantom Power switch, Phase Inversion, Signal Present indicator and a Mute switch are included. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability and which maintains a 2 dB noise figure over a wide range.\u003cbr\u003e \u003cbr\u003e Inserting a plug into the DI input, selects a 3M Ω Discrete FET DI circuit that includes the transformer-coupled pristine topography that optimizes both the microphone and DI inputs, allowing low impedance microphones and high impedance sources like electric guitars and basses to deliver their optimum performance. Primary Gain and Trim controls are fully operational. A “Thru” jack on the front panel that duplicates the unaffected source signal allows the use of an external amplifier if required. A “Line” switch selects the independent Line XLR non-reactive input circuit that includes the HPF and Level trim controls.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eTexture\u003c\/span\u003e\u003cbr\u003e One of the key developments in the Portico II is the new Texture section. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing countless tonal options in one device. The texture section features distinct modes, controlled by a potentiometer from barely audible to dramatic!. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.\u003cbr\u003e \u003cbr\u003e Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. “Silk +” mode pushes this technique still further, achieving a more harmonically rich sound.\u003cbr\u003e \u003cbr\u003e Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble vintage designs by Mr. Rupert Neve. Velvet mode pushes this technique further, by increasing saturation on the output transformer to achieve a more colored sound. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eEqualizer\u003c\/span\u003e\u003cbr\u003e The EQ topologies in the 4-Band Equalizer of the Portico II combine the best-loved sound of several classic designs, but are also capable of extremely fine surgical adjustments as well as dramatic boosts or cuts. By default, the EQ section follows the mic preamplifier and HPF, and precedes the compressor, but this sequence may be reversed by engaging the Post Comp switch\u003cbr\u003e \u003cbr\u003e The Low Shelf has an independent engage switch, Classic Peak\/ Accelerated Shelf selection, with +\/- 12dB level adjustment, and selectable turnover frequencies of 35, 60, 100, and 220 Hz. The Fully Parametric LMF and HMF bands have a joint engage switch, providing +\/- 12dB level adjustment, continuously variable “Q” from 0.7 to 5 and continuously variable frequency ranges from 70 to 1.4KHz and 700Hz to 14KHz. In addition to its standard capabilities, the HMF band can also be used to precisely tune a new De-Esser circuit.\u003cbr\u003e \u003cbr\u003e The De-Esser can be varied from off to full effect, and uses the Frequency, and “Q” controls to tame harsh sibilance in vocals and instruments with an independent high-mid limiter. Even when the De-Esser is on, the EQ level may still be used. The High Frequency shelf has independent engage switch, Classic Peak\/ Accelerated Shelf selection, +\/- 12dB level adjustment, and selectable turnover frequencies of 4.7, 6.8, 12, and 25kHz. When two Portico II Channels are used side by side, the EQ section can also excel at stereo material.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eCompressor\u003c\/span\u003e\u003cbr\u003e A further array of tools are used to craft dynamic response. The Portico II’s compressor section is exceptionally flexible. Like the Portico 5043, the compressor a choice of Forward Feed \/ Return Feed modes, either providing a transparent modern response, or a smoother more musical vintage response. Along with FF\/FB modes, there are also 1:1 to 40:1 ratio controls and threshold from -30dBu to +20dBu, together with Attack from 20 to 75ms (.1 ms in fast mode), Release from 100ms to 2.5s, and Make up gain from 0 to 20dB with a Stereo Link.\u003cbr\u003e \u003cbr\u003e The Portico II compressor however incorporates a number of new ways to tame or enhance dynamics. HPF to SC inserts the High Pass Filter into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. The “Fast” switch alters the compressor’s attack to react to transients with a roughly .1ms response time. When “fast” is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings.\u003cbr\u003e \u003cbr\u003e “Blend” works by creating a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\u003cbr\u003e \u003cbr\u003e To further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal under another. (for instance, a voice-over keying the compressor to duck a background music track). By connecting the “link” jack on the back of the Portico II to another Portico II link jack and engaging the Link buttons, the compressor section may be used for stereo material.","brand":"Rupert Neve Designs","offers":[{"title":"Default Title","offer_id":44449247821927,"sku":"13144","price":3145.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/rupert_neve_portico2_channel_strip.jpg?v=1787088301"},{"product_id":"spl-channel-one","title":"SPL Channel One Complete Channel Strip","description":"The \u003cb\u003eSPL\u003c\/b\u003e \u003cb\u003eChannel One\u003c\/b\u003e is a complete channel strip with all the tools onboard for recording voices, instruments and digital or analog audio sources with the highest sound quality: a transistor\/tube preamplifier (12AX7-LPS tube type), a de-esser, a compressor\/limiter with noise gate, an EQ section and a headphone monitor. \u003cbr\u003e\u003cbr\u003eThe concept of the Channel One is as the ideal recording tool – for hard disk tracking as well as for analog environments. Intelligent automation ensures intuitive, fast operation and guarantees the finest recording results. \u003cbr\u003e\u003cbr\u003eThe preamp stage provides three (four with converter option) optimised inputs: The microphone input features 48V phantom power, phase reverse function and a subsonic filter. The low-impedance Line input has a precise balancing stage for connecting studio equipment. The low-noise, high-impedance instrument input is easily accessible on the front panel. Digital insert is possible using the optional AD\/DA converter. \u003cbr\u003e\u003cbr\u003eThe de-esser subtly yet effectively removes offending sibilants by processing only the “S” frequencies. The Auto-Threshold mode ensures constant processing even when the microphone distance varies. All the user need do is set the desired S-reduction. Insert (Send\/Return) allows external effects devices to be looped in or the unprocessed pre-stage signal to be sent out. \u003cbr\u003e\u003cbr\u003eThe Compressor\/Limiter section is based on SPL’s Double-VCA-Drive® circuitry with its outstanding noise and distortion characteristics. The compressor is extremely easy to use via a single knob; its strength lies in the inconspicuous, musical way in which it works. \u003cbr\u003e\u003cbr\u003eThe Noise Gate operates flawlessly; reverbs are recognized and not cut off. For the Channel One an EQ section was designed especially for processing voices as well as acoustic or electronic instruments. In addition to Low, Mid-Hi and Air-Band filters, a field-effect distortion stage is used to subtly distort the signals in a way that lends character. \u003cbr\u003e\u003cbr\u003eThe headphone monitor allows the singer or speaker to get an individual mix directly and without latency problems in hard disk recording systems. \u003cbr\u003e\u003cbr\u003eThe options include a 24\/96 AD\/DA converter as well as a sound enhancing Lundahl in- and output transformer.","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":44449248182375,"sku":"5472","price":1699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/spl_channel_one2950_1.jpg?v=1787088302"},{"product_id":"spl-frontliner","title":"SPL Frontliner Channel Strip\/Processing Unit","description":"This \u003cspan style=\"font-weight: bold;\"\u003eSPL Frontliner\u003c\/span\u003e channel strip combines Preamp, De-Esser, Compressor, EQ and Tube Output for a fully featured recording channel. But often the particular stages would also be a great addition to an engineers mixing tools arsenal – and that is why SPL has spent dedicated I\/Os to each section of this unit. \u003cbr\u003e\u003cbr\u003e Each stage can be used separately and for example be routed via a patchbay to insert the whole toolbox into a studio environment. The Frontliner features a hybrid, Class A preamp design with discrete solid state stage and a tube section with switchable drive settings.","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":44449248346215,"sku":"10684","price":2199.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/spl_frontliner_1.jpg?v=1787088303"},{"product_id":"spl-track-one","title":"SPL Track One Channel Strip","description":"The\u003cb\u003e SPL Track One\u003c\/b\u003e is a complete mono channel strip for the high-quality recording and processing of vocals and instruments and in spite of its high level of performance, it is very competitively priced. In addition to the pre-amplifiers, which are suitable for all types of microphones, the unit incorporates SPL's highly effective De-Esser, a compressor\/limiter, a three-band EQ section and an output stage with metering for output level and gain reduction. The Track One is ideal for the fast and reliable recording of vocals or acoustic instruments but it is also suitable for live performance and AV post-editing. \u003cbr\u003e\u003cbr\u003eThe intelligent, program-dependent De-Esser and compressor stages combine the best possible sound with extreme ease of use and for stereo operation, two devices can be linked so that both compressors track together and are controlled from a single master unit. \u003cbr\u003e\u003cbr\u003eTwo separate precision pre-amplifiers optimised for microphones (with 48 V phantom power) and instruments ensure the lowest noise performance combined with an open, neutral sound while an LF cut filter is available to both inputs. \u003cbr\u003e\u003cbr\u003eThe De-Esser is one of the most effective designs available, unobtrusively and effectively removing unwanted sibilant S-sounds via a single control. Auto-threshold control circuitry ensures consistent processing even if the vocal level or the distance to the microphone varies leaving the operator to decide only how much sibilance to remove. \u003cbr\u003e\u003cbr\u003eThe compressor\/limiter section displays excellent noise and distortion values yet again is operated via a single control. Its strength lies in its unobtrusive, musical method of operation where its parameters respond to the characteristics of the incoming signal. \u003cbr\u003e\u003cbr\u003eThe EQ section has been specifically designed to process vocals and acoustic or electronic instruments and the specifications are as follows: \u003cul\u003e \u003cli\u003eLow Band filter: 30 Hz to 720 Hz (cut\/boost +\/- 14 dB) \u003c\/li\u003e\n\u003cli\u003eMid Hi filter: 650 Hz to 14 Hz (cut\/boost +\/-12 dB) \u003c\/li\u003e\n\u003cli\u003eAir Band: based on a coil\/condenser filter with bell characteristic and a centre frequency of 17.5 kHz, maximum cut\/boost+\/- 10 dB.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cbr\u003eThe output amplification stage is adjustable over the range -20dB to +6 dB for optimal drive of subsequent units and the output is via balanced XLR and jack plugs that can be used in parallel if necessary. An A\/D converter and a Lundahl input transformer can be provided as options.","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":44449248608359,"sku":"5473","price":999.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/spl_track_one_e5fe4a61-9111-444d-802a-95c865c60a9f.jpg?v=1787088303"},{"product_id":"summit-audio-ecs-410-everest-channel-strip","title":"Summit Audio ECS-410 Everest Channel Strip","description":"The \u003cb\u003eSummit Audio ECS-410 Everest Channel Strip\u003c\/b\u003e is a distinctly different, four section analog processor and microphone preamp, ideal for tracking, recording, and processing your most important signals. Each section is completely independent with its own fully balanced IO with the ability to route each section together internally with TouchPatch™, a unique and amazingly intuitive routing section. Four complete products, amalgamated into one master channel strip. \u003cbr\u003e\u003cbr\u003e Summit Audio's design philosophy with the ECS-410 Everest is a no-compromise, high-value approach to every step of the design and manufacturing process. From the choice of thru-hole parts for high reliability and easy repairs to using gold plated circuit boards, Summit Audio has crafted the ECS-410 Everest for a lifetime of use. \u003cbr\u003e\u003cbr\u003eThe modular design of the ECS-410 Everest makes service and updating extremely simple, as well as giving great separation for each section, with direct power, audio, and ground connections. Each card has double, redundant contacts to the main board and we use actual wire, not failure-prone ribbon cables. All contacts from the cards to the front panel controls use three finger contacts, the most reliable and solid connections available. The inputs and outputs are all fully balanced and use high end connectors in all cases. The steel chassis is very strong and offers excellent shielding with a highly durable coating for a lifetime of use with a minimum of evidence of wear. And most importantly, each section is laid out by hand, so trace routing is the result of experience and testing, not the accidental routing coming from a computer generated 'auto-route' feature. Attention to details like this truly make the ECS-410 Everest stand above. \u003cbr\u003e\u003cbr\u003e From crystal clear to tube overdrive, ECS-410 Everest is the summit of flexibility, precision, tone, and taste.","brand":"Summit Audio","offers":[{"title":"Default Title","offer_id":44449249132647,"sku":"10194","price":5299.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/summit_audio_ecs410.jpg?v=1787088306"},{"product_id":"summit-audio-mpc-100a","title":"Summit Audio MPC-100A","description":"The \u003cspan style=\"font-weight: bold;\"\u003eSummit Audio MPC-1OOA \u003c\/span\u003eis a single channel tube preamplifier and tube compressor\/limiter all in one unit. It accepts line, microphone, and Hi-Z input signals. The preamplifier provides a warm yet crisp vacuum tube tone. The compressor\/limiter section has very fast attack times, making it ideal for optimizing signal prior to entering the digital domain. In addition to having superb sound and a user friendly interface, the MPC-100A has the robust build quality consistent with the Summit Audio family of products.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eThe Summit Audio MPC-1OOA Features:\u003c\/span\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\"Clean\" to \"Saturated\" valve sounds\u003c\/li\u003e\n\u003cli\u003eSoft Clipping LED indicators\u003c\/li\u003e\n\u003cli\u003eHI-Z instrument input with impedance matching control\u003c\/li\u003e\n\u003cli\u003eTwo stages of vacuum tube gain controls\u003c\/li\u003e\n\u003cli\u003e3 Position attack and release presets\u003c\/li\u003e\n\u003cli\u003eHigh quality VU meter for output and gain reduction metering\u003c\/li\u003e\n\u003cli\u003eContinuously variable output level control\u003c\/li\u003e\n\u003cli\u003e+4 dB balanced and -10 dB unbalanced output\u003c\/li\u003e\n\u003cli\u003eStereo linkable with a second MPC-100A\u003c\/li\u003e\n\u003cli\u003eJensen mic transformer\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Summit Audio","offers":[{"title":"Default Title","offer_id":44449249230951,"sku":"298","price":2149.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/summit_audio_mpc100a_1.jpg?v=1787088306"},{"product_id":"tube-tech-mec1a","title":"Tube-Tech MEC1A Mono Tube Recording Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eTube-Tech MEC1A\u003c\/strong\u003e is an all-tube mono recording channel, combining the classic Tube-Tech designs: MP1A mic preamp, EQ 1A active EQ and CL2A compressor in one powerful, 2U recording package. The MEC1A delivers true Tube-Tech sound - full and warm, yet open and transparent. MEC1A is a compact and cost-effective solution if you need a superior front end that will deliver top quality recordings, no matter what source you are working with.\u003c\/p\u003e\r\n\u003cp\u003eThe Tube-Tech MEC 1A Recording Channel is a one channel recording unit, featuring a microphone preamplifier equalizer and compressor. At the heart of the shelving and bell filters you will find a tube operational amplifier. The MEC 1A 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.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e\r\n\u003cp\u003e\u003cstrong\u003eMICROPHONE PREAMPLIFIER\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eGain: +20 to +70 dB (DI:10-60 dB)\u003c\/li\u003e\r\n\u003cli\u003eInput impedance: \u0026gt;1.2 kΩ\u003c\/li\u003e\r\n\u003cli\u003e+48V phantom power, phase reverse, -20 dB pad, low cut\u003c\/li\u003e\r\n\u003cli\u003eDI input impedance: \u0026gt;1 MΩ\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cstrong\u003eEQUALIZER:\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eActive, tube based equalizer\u003c\/li\u003e\r\n\u003cli\u003eThree bands\u003c\/li\u003e\r\n\u003cli\u003e6 low shelving frequencies\u003c\/li\u003e\r\n\u003cli\u003e6 high shelving frequencies\u003c\/li\u003e\r\n\u003cli\u003eBell-type Mid with 12 selectable frequencies \u0026amp; variable Q\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003e\u003cstrong\u003eOPTO COMPRESSOR:\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eLow distortion optical gain reduction element\u003c\/li\u003e\r\n\u003cli\u003eRatio: 1.5:1 to 10:1\u003c\/li\u003e\r\n\u003cli\u003eVariable attack and release\u003c\/li\u003e\r\n\u003cli\u003eVU meter shows output or compression\u003c\/li\u003e\r\n\u003cli\u003eLinkable for stereo applications\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Tube-Tech","offers":[{"title":"Default Title","offer_id":44449249886311,"sku":"299","price":6625.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/tube-tech-mec1a-2023_299_1_a48c7d77-5253-4e7e-9c9c-209643220729.jpg?v=1787088309"},{"product_id":"tube-tech-mmc1a","title":"Tube-Tech MMC1A","description":"\u003cp\u003eThe \u003cstrong\u003eTube-Tech MMC 1A\u003c\/strong\u003e is a full-blown microphone preamplifier and multiband compressor with outstanding sonic properties.\u003c\/p\u003e\n\u003cp\u003eEncompassing a complete front-end the MMC1A iincludes an additional Direct Instrument input as well as a separate line input. The microphone input has switchable loading impedance, phantom power, phase reversal and a –20 dB Pad. All inputs are equipped with a low-cut filter. The 3-band optical compressor is designed to maintain optimum summing of all three bands with a remarkably flat frequency response. A bypass switch shorts out the whole compressor.\u003c\/p\u003e\n\u003cp\u003eMicrophone Input\/Output are balanced and have fully floating transformers with a static screen. The Line Input is unbalanced, but an optional transformer is available.\u003c\/p\u003e\n\u003cp\u003eThe power supply and the sidechain circuits are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilized.\u003c\/p\u003e","brand":"Tube-Tech","offers":[{"title":"Default Title","offer_id":44449249919079,"sku":"2591","price":3850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/tubetech_mmc1a_3.jpg?v=1787088309"},{"product_id":"universal-audio-6176","title":"Universal Audio 6176 Tube Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eUniversal Audio 6176 Channel Strip\u003c\/strong\u003e has been presented. Many users who demand the power and flexibility of today's recording technology find themselves yearning for the warmth and tone of yesteryear's hand-built analog circuitry. Now with the release of the 6176, Universal Audio, for the first time, combines their highly acclaimed 610 tube microphone preamp with their legendary 1176LN compressor to create the ultimate single channel signal path for everything from vocals to vibraphones.\u003c\/p\u003e\r\n\r\n\u003ch3\u003e610B Mic Pre\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe 2-610 microphone and instrument preamplifier has received praise from many corners. Michael Cooper, in his review for Mix Magazine, called it \"hands-down, the most dimensional mic preamp I've ever heard!\" Peter Wade, engineer\/producer who has worked with acts ranging from Wyclef Jean to Jennifer Lopez, said simply, \"This box rocks.\" The 6176 mic preamp sections maintains the quality and character of the 2-610 while adding high-tension power regulation for improved bass response and a front-panel 15db pad switch.\u003c\/p\u003e\r\n\r\n\u003ch3\u003e1176LN Limiting Amplifier\u003c\/h3\u003e\r\n\r\n\u003cp\u003eAs legendary engineer\/producer Andy Johns put it, \"The 1176LN is the workhorse compressor.\" The 1176LN may well be the most loved compressor in history. Its trademark lightning-quick attack and release times and the tone of its Class A output amplifier have enhanced countless recordings over the last thirty-five years. We've recreated the 1176LN for the compressor section of the 6176 with the same exacting, attention to detail and tradition we use on our 1176LN. The resulting character, heritage and tone simply cannot be found on other channel strip units\u003c\/p\u003e\r\n\r\n\u003ch3\u003eAudio Inputs: Mic Pre Section\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eMicrophone (Female XLR)\u003c\/li\u003e\r\n\u003cli\u003eBalanced Line (Female XLR)\u003c\/li\u003e\r\n\u003cli\u003eUnbalanced Line\/Instrument (1\/4\" jack) on front panel\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\r\n\u003ch3\u003eAudio Inputs: Compressor Section\u003c\/h3\u003e\r\n\r\n\u003cp\u003eBalanced Line (Female XLR) for use in \"Split Mode\"\u003c\/p\u003e\r\n\r\n\u003ch3\u003eAudio Outputs: Mic Pre Section\u003c\/h3\u003e\r\n\r\n\u003cp\u003eBalanced Line (Male XLR) for use in \"Split Mode\"\u003c\/p\u003e\r\n\r\n\u003ch3\u003eAudio Outputs: Compressor Section\u003c\/h3\u003e\r\n\r\n\u003cp\u003eBalanced Line (Male XLR)\u003c\/p\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44449250246759,"sku":"780","price":2999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/universalaudio_6176_1_1_b5bda453-5db4-4d23-81b9-bde537fcb721.jpg?v=1787088311"},{"product_id":"universal-audio-la-610-mk-ii","title":"Universal Audio LA-610 Mk II Tube Channel Strip","description":"\u003cp\u003eThe LA-610 defined the affordable, ultimate vintage tone channel strip. So how can UA improve on tonal perfection and what was already a hit product?\u003c\/p\u003e\r\n\r\n\u003cp\u003eEnter the sequel... \u003cstrong\u003eUniversal Audio LA-610 Mk II\u003c\/strong\u003e, a second-generation revamp of the original 2005 LA-610 design. While the preamp and compressor are identical to the original LA-610 that users have come to know and love, user-requested features such as true compressor bypass, larger metering, improved output signal, an auto-sensing power supply have been added bringing the end user an enhanced user experience. The LA-610 Mk II also features the highly popular “black on black” cosmetics of the LA-610 Signature Edition.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe LA-610 Mk II packs tremendous sonic versatility and is an ideal front-end for tracking with modern DAWs and the serious project studio looking to get the UA sonic experience: Real quality and character at an accessible price. The LA-610 Mk II is based on the legendary console modules developed by Bill Putnam in the 60's. Noted for their musical character and warmth, countless classics from Sinatra to Van Halen have been recorded using these preamps. After the preamp section, the LA-610 Mk II offers the T4 optical compressor. The simple operation and program dependent nature of the LA-610 T4 compressor provides the same extremely musical control that has made the LA-2A such a well-loved classic for over 40 years. The electro-optical detector or \"T4 cell” is the very heart and soul of the Teletronix LA-2A. The unique combination of electroluminescent panel and photo-resistors inside the T4 cell are the crucial circuit components that give both compressors their signature sound.\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003ch3\u003eMK II Improvements\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eTrue Bypass of the Compressor Circuit\u003c\/li\u003e\r\n\u003cli\u003eLarger and Better Lit Metering\u003c\/li\u003e\r\n\u003cli\u003eImproved Output Signal Performance\u003c\/li\u003e\r\n\u003cli\u003eAuto-Sensing Universal Power Supply\u003c\/li\u003e\r\n\u003cli\u003eImproved stability with feedback-style shelving EQ\u003c\/li\u003e\r\n\u003cli\u003eImproved consistency with Input Gain values\u003c\/li\u003e\r\n\u003cli\u003eLED Jewel Light Never Needs Replacing\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\r\n\u003ch3\u003eSpecifications:\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eMic, Line and Hi-Z Input, Line Output\u003c\/li\u003e\r\n\u003cli\u003eDual Impedance Mic and Hi-Z inputs (Mic: 2K, 500Ω, Hi-Z: 2.2M, 47KΩ)\u003c\/li\u003e\r\n\u003cli\u003e5 position Stepped Preamp Input Gain, Continuous Preamp Output Level\u003c\/li\u003e\r\n\u003cli\u003e-15 dB Pad Switch (15 dB Pad\/Off)\u003c\/li\u003e\r\n\u003cli\u003ePhase reverse (0\/180º)\u003c\/li\u003e\r\n\u003cli\u003e48 volt Phantom Power switch (+48v\/Off)\u003c\/li\u003e\r\n\u003cli\u003e±9 dB stepped High Shelving Filter (4.5, 7, 10 kHz)\u003c\/li\u003e\r\n\u003cli\u003e±9 dB stepped Low Shelving Filter (70, 100, 200 Hz)\u003c\/li\u003e\r\n\u003cli\u003eT4 Optical Compressor with Continuous Peak Reduction and Makeup Gain\u003c\/li\u003e\r\n\u003cli\u003eCompress\/Limit\/Bypass Modes of Dynamic Operation (3:1 \/ ∞: 1)\u003c\/li\u003e\r\n\u003cli\u003eMeter Source Selector Switch (Preamp\/Gain Reduction\/Compressor)\u003c\/li\u003e\r\n\u003cli\u003eFront Panel Power switch (On\/Off)\u003c\/li\u003e\r\n\u003cli\u003eCustom Altran and Cinemag Transformers\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44449250508903,"sku":"10669","price":1999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/universalaudio_la610_mkll_1_1.jpg?v=1787088312"},{"product_id":"drawmer-1960","title":"Drawmer 1960 Two-Channel Tube Compressor Limiter","description":"\u003cp\u003eThere is little doubt in the minds of many engineers and producers that vacuum tubes possess a unique sound quality providing a \"warmer, more alive\" sound. Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium.  The \u003cstrong\u003eDrawmer 1960\u003c\/strong\u003e is a two channel unit with each channel comprised of a completely natural sounding \"soft knee\" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power.  A further auxiliary instrument pre-amp with EQ is also provided.  This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console.\u003c\/p\u003e\n\u003cp\u003eThe Compressor:  Because the compressor is a soft knee type, it requires few controls.  Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the \"amount of compression\" control for the sake of familiarity.  The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold.  The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors.  Attack simply offers a-choice of slow, medium and fast whilst release has six settings.  Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals.  Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear.\u003c\/p\u003e\n\u003cp\u003eBecause compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB.  The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch.\u003c\/p\u003e\n\u003cp\u003eThe side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. 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In addition, the 376 also offers digital output capabilities in both AES\/EBU, and S\/PDIF formats as standard features.  The high impedance, 1\/4\" instrument input located on the front panel, as well as the mic\/line switch, and 20 dB pad show our dedication to providing convenience in the studio.  The LED meters provide a clear and concise visual of the signal processing at a glance. The rear panel includes both mic and line inputs and outputs, word clock sync input and output, insertion jack and digital outputs.  Add selectable sampling rates of 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz; selectable dithering and noise shaping; and separate analog and digital output controls to this already impressive list of features, and we think you. l agree that the 376 lives up to the uncompromising standards of dbx Professional Products.\u003c\/p\u003e","brand":"DBX","offers":[{"title":"Default Title","offer_id":44449254834279,"sku":"777","price":529.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/dbx_376.jpg?v=1787088331"},{"product_id":"gml-2020","title":"GML 2020","description":"\u003cp\u003eThe GML one-box solution.  The \u003cstrong\u003eGML 2020\u003c\/strong\u003e is a the reference-quality combination of the legendary 8300 mic pre, a four-band version of the 8200 Parametric EQ, and a complete 8900 Dynamic Range Controller.  Additional enhancements not found in the stand-alone units include: Mic, Line, and Direct Instrument input selection, front panel mounted 2-Pole High Pass Filter, Phase Reverse, and Phantom Power switches, as well as fast and accurate LED input metering.  Input Gain is adjustable from -10dB attenuation to 70dB of gain in precise 5dB steps.  Each source is optimized at all gain settings for best noise performance.  One knob optimizes low output ribbon mics to semi-pro keyboards to inserts in super hot mastering chains.  Bypass controls are provided for EQ and dynamics independently, while up to eight Model 2020’s may be linked for multi-channel work.  A one-knob topology switch re-arranges the 2020 such that the 8200 EQ section can be placed either before or after the 8900 Dynamics section, or conveniently inserted into the Side Chain.  The 2020 is housed is a rugged 2u chassis houses and includes 9015 external power supply.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e \u003cbr style=\"font-style: italic;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"GML","offers":[{"title":"Default Title","offer_id":44449254867047,"sku":"779","price":6650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/gml_2020_1.jpg?v=1787088332"},{"product_id":"neve-8801-channel-strip","title":"Neve 8801 Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eNeve 8801 Channel Strip\u003c\/strong\u003e is like having a complete channel from the legendary Neve 88R console – widely considered among the best-sounding analog music consoles ever developed. Contained in a single rack-mount unit, the 8801 combines a classic Neve mic preamplifier and equalization circuitry with an incredible 88R-style dynamics processor. Completely hand-built and hand-wired by Neve, this ground breaking Channel Strip delivers a front-end with all the quality and versatility that has become synonymous with the Neve name.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe 8801’s signal path consists of an extremely high-quality Neve mic preamp, high and low pass filters, four bands of highly musical equalization, a compressor, gate, dynamics side chain and an insert point. The order of the signal path can be easily modified as the producer requires. The filter section and\/or the equalization section can even be routed to the dynamics side chain to tailor the dynamics response of any input signal.\u003c\/p\u003e\r\n\r\n\u003cp\u003eNeve's proprietary Recall software (Mac- and PC-compatible) allows the 8801 to be seamlessly integrated with workstations, providing instantaneous recall of all external device settings. An essential tool for creativity, Recall combines the flexibility of a computer-based system with the power and sound quality of genuine Neve design. Quite simply, the 8801 is the most convenient way to give any serious studio the ultimate Neve analog sound.\u003c\/p\u003e","brand":"Neve","offers":[{"title":"Default Title","offer_id":44449254899815,"sku":"7319","price":3810.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/neve-8801-22_7319_1_c6364923-da90-4116-bff1-e2c4d0d8e880.jpg?v=1787088332"},{"product_id":"spl-track-one-w-lundahl-input-transformer-option","title":"SPL Track One w\/ Lundahl Input Transformer Option","description":"The\u003cb\u003e SPL Track One\u003c\/b\u003e is a complete mono channel strip for the high-quality recording and processing of vocals and instruments and in spite of its high level of performance, it is very competitively priced. In addition to the pre-amplifiers, which are suitable for all types of microphones, the unit incorporates SPL's highly effective De-Esser, a compressor\/limiter, a three-band EQ section and an output stage with metering for output level and gain reduction. The Track One is ideal for the fast and reliable recording of vocals or acoustic instruments but it is also suitable for live performance and AV post-editing. \u003cbr\u003e\u003cbr\u003eThe intelligent, program-dependent De-Esser and compressor stages combine the best possible sound with extreme ease of use and for stereo operation, two devices can be linked so that both compressors track together and are controlled from a single master unit. \u003cbr\u003e\u003cbr\u003eTwo separate precision pre-amplifiers optimised for microphones (with 48 V phantom power) and instruments ensure the lowest noise performance combined with an open, neutral sound while an LF cut filter is available to both inputs. \u003cbr\u003e\u003cbr\u003eThe De-Esser is one of the most effective designs available, unobtrusively and effectively removing unwanted sibilant S-sounds via a single control. Auto-threshold control circuitry ensures consistent processing even if the vocal level or the distance to the microphone varies leaving the operator to decide only how much sibilance to remove. \u003cbr\u003e\u003cbr\u003eThe compressor\/limiter section displays excellent noise and distortion values yet again is operated via a single control. Its strength lies in its unobtrusive, musical method of operation where its parameters respond to the characteristics of the incoming signal. \u003cbr\u003e\u003cbr\u003eThe EQ section has been specifically designed to process vocals and acoustic or electronic instruments and the specifications are as follows: \u003cul\u003e \u003cli\u003eLow Band filter: 30 Hz to 720 Hz (cut\/boost +\/- 14 dB) \u003c\/li\u003e\n\u003cli\u003eMid Hi filter: 650 Hz to 14 Hz (cut\/boost +\/-12 dB) \u003c\/li\u003e\n\u003cli\u003eAir Band: based on a coil\/condenser filter with bell characteristic and a centre frequency of 17.5 kHz, maximum cut\/boost+\/- 10 dB.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cbr\u003eThe output amplification stage is adjustable over the range -20dB to +6 dB for optimal drive of subsequent units and the output is via balanced XLR and jack plugs that can be used in parallel if necessary. An A\/D converter and a Lundahl input transformer can be provided as options.","brand":"SPL Audio","offers":[{"title":"Default Title","offer_id":44449254932583,"sku":"15629","price":999.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/spl_track_one_lundahl.jpg?v=1787088333"},{"product_id":"drawmer-1969","title":"Drawmer 1969","description":"\u003cp\u003eThe \u003cstrong\u003eDrawmer 1969 Mercenary Edition \u003c\/strong\u003eis a new product that derives from a collaboration between two of the audio industry's most established names, Drawmer (UK) and Mercenary Audio (USA). \u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003eBased on Drawmer's original 1960 Mic Pre-Amp\/Tube Compressor (itself inspired by the classic Fairchild 670), the 1969 offers a host of new features, and more impressively - a completely new sound! \u003cbr\u003e\u003cbr\u003eRetaining the concept of twin mic pre-amps, the 1969 uses \"Burr-Brown\" op amps for a silkier sound - and a Phase Reverse switch available in Instrument, Mic and Line modes increases versatility.  The 1969 employs true Stereo Link operation with channel one?s Threshold, Attack and Release controls becoming master to both channels.  Stereo Link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100Hz minimizing undesirable pumping during compression.  Output Gain make-up can be independently controlled on each channel.  The 1969 Mercenary Edition incorporates new tube circuits designed to add warmth to mic\/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments - true to the original Drawmer 1960 design.\u003c\/p\u003e","brand":"Drawmer","offers":[{"title":"Default Title","offer_id":44449261289575,"sku":"862","price":2695.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/drawmer_1969.jpg?v=1787088350"},{"product_id":"universal-audio-4-710d","title":"Universal Audio 4-710d Tube\/FET Preamp and Compressor","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe \u003cstrong\u003eUniversal Audio 4-710d\u003c\/strong\u003e is a boutique quality, four-channel microphone\/line preamplifier with unique tube and solid-state tone blending capabilities — perfect for a wide range of microphone and instrument sources. This versatile multi-channel preamp offers selectable 1176-style compression circuitry on each channel, plus four additional line inputs feeding eight channels of pristine analog-to-digital conversion. Building upon UA’s classic analog design approach, combined with smart modern features, the 4-710d is the most flexible preamp in the UA lineup.\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\u003cp\u003eAt the core of the 4-710d are four channels of tone-blending “Twin-Finity” mic preamps with true-bypass 1176-style compression, including specially tuned \"fast\" and \"slow\" settings. Each of the four mic preamp channels allows for continuously variable phase-aligned tone, between a 100% tube and 100% solid-state signal path. Send and return jacks are available for external processing or signal access.\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe eight analog inputs are digitized via ultra high-quality 24-bit A\/D converters at selectable sample rates up to 192 kHz. Digital output is available via dual ADAT “lightpipe” or AES\/EBU DB-25 connectors, facilitating integration with most popular audio interfaces.\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44449343799399,"sku":"16347","price":1999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/universal_audio_4-710d_1.jpg?v=1787088635"},{"product_id":"retro-instruments-powerstrip","title":"Retro Instruments Powerstrip Vintage Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eRetro Instruments Powerstrip\u003c\/strong\u003e recording channel is a high powered \"channel strip\" or \"vintage studio in a box\", capturing the tone of a tube mixing desk, Pultec-style tube EQ and British tube compressor all in one compact 2U rack unit. It has all the right inputs and enough gain for every microphone and instrument you can throw at it. It has a balanced line level input for pro-interface instruments and for use during mix time. The performance is purely musical. It is perfect for use in any size recording studio or on stage.\u003c\/p\u003e","brand":"Retro Instruments","offers":[{"title":"Default Title","offer_id":44449348190311,"sku":"16368","price":3899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/retro-instruments-powerstrip-two.jpg?v=1787088651"},{"product_id":"api-the-channel-strip","title":"API The Channel Strip","description":"\u003cp\u003eThe result of thoughtful engineering, the Channel Strip includes everything needed to record an audio signal. It all starts with the famed 512c mic preamplifier, which includes the benefit of additional mic, line or instrument input switching.  Next is the 527 multi-mode  compressor with fully adjustable Threshold, Attack, Release, and Ratio controls on detented pots.  The patented THRUST® circuit in the 527 gives your track the \"in-your-face\" punch that has made this circuit an award winner. Also included in The Channel Strip is probably the most recognized and revered API EQ of all time, the 550A three-band equalizer with its switchable frequencies and 12dB of boost or cut.  The 550A's high and low frequency bands can be individually switched to be shelving EQs, and the \"B.P. 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In designing the \u003cspan style=\"font-weight: bold;\"\u003eRupert Neve Portico II Channel Strip\u003c\/span\u003e, every possible attention has been paid towards not only producing the most accurate, sweet sounding audio topologies, but also enabling engineers to boldly shape or fine tune tracks to the limit of their imaginations.\u003cbr\u003e \u003cbr\u003e A self-powered 2U channel module comprised of a fully- featured mic preamplifier, 4-band EQ, compressor-limiter, “texture”control and level metering, The Portico II Channel includes a bevy of new features including: Variable Silk \/ Silk+ Texture control, a fully tunable “de-esser”, multiple VCA filtering and detection options, a transient-optimized swept HPF and parallel compression blending. With its simple yet powerful topologies and extensive feature set, every element of the Portico II: Channel is geared towards empowering recording artists to realize these visions.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eInput Section\u003c\/span\u003e\u003cbr\u003e Input signals may be derived from any of three sources; Microphone, Line or DI. The Microphone input has a 10K Ω non-reactive input resistance that handles a full 26dBu signal without the need for a pad. A primary Gain control provides 66dB of gain in 6dB increments for easy recall with a +\/- 6dB Trim for fine adjustment. A transient-optimized HPF continuously covering the range from 20-250Hz is included. In addition the usual 48V Phantom Power switch, Phase Inversion, Signal Present indicator and a Mute switch are included. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability and which maintains a 2 dB noise figure over a wide range.\u003cbr\u003e \u003cbr\u003e Inserting a plug into the DI input, selects a 3M Ω Discrete FET DI circuit that includes the transformer-coupled pristine topography that optimizes both the microphone and DI inputs, allowing low impedance microphones and high impedance sources like electric guitars and basses to deliver their optimum performance. Primary Gain and Trim controls are fully operational. A “Thru” jack on the front panel that duplicates the unaffected source signal allows the use of an external amplifier if required. A “Line” switch selects the independent Line XLR non-reactive input circuit that includes the HPF and Level trim controls.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eTexture\u003c\/span\u003e\u003cbr\u003e One of the key developments in the Portico II is the new Texture section. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing countless tonal options in one device. The texture section features distinct modes, controlled by a potentiometer from barely audible to dramatic!. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.\u003cbr\u003e \u003cbr\u003e Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. “Silk +” mode pushes this technique still further, achieving a more harmonically rich sound.\u003cbr\u003e \u003cbr\u003e Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble vintage designs by Mr. Rupert Neve. Velvet mode pushes this technique further, by increasing saturation on the output transformer to achieve a more colored sound. With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eEqualizer\u003c\/span\u003e\u003cbr\u003e The EQ topologies in the 4-Band Equalizer of the Portico II combine the best-loved sound of several classic designs, but are also capable of extremely fine surgical adjustments as well as dramatic boosts or cuts. By default, the EQ section follows the mic preamplifier and HPF, and precedes the compressor, but this sequence may be reversed by engaging the Post Comp switch\u003cbr\u003e \u003cbr\u003e The Low Shelf has an independent engage switch, Classic Peak\/ Accelerated Shelf selection, with +\/- 12dB level adjustment, and selectable turnover frequencies of 35, 60, 100, and 220 Hz. The Fully Parametric LMF and HMF bands have a joint engage switch, providing +\/- 12dB level adjustment, continuously variable “Q” from 0.7 to 5 and continuously variable frequency ranges from 70 to 1.4KHz and 700Hz to 14KHz. In addition to its standard capabilities, the HMF band can also be used to precisely tune a new De-Esser circuit.\u003cbr\u003e \u003cbr\u003e The De-Esser can be varied from off to full effect, and uses the Frequency, and “Q” controls to tame harsh sibilance in vocals and instruments with an independent high-mid limiter. Even when the De-Esser is on, the EQ level may still be used. The High Frequency shelf has independent engage switch, Classic Peak\/ Accelerated Shelf selection, +\/- 12dB level adjustment, and selectable turnover frequencies of 4.7, 6.8, 12, and 25kHz. When two Portico II Channels are used side by side, the EQ section can also excel at stereo material.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eCompressor\u003c\/span\u003e\u003cbr\u003e A further array of tools are used to craft dynamic response. The Portico II’s compressor section is exceptionally flexible. Like the Portico 5043, the compressor a choice of Forward Feed \/ Return Feed modes, either providing a transparent modern response, or a smoother more musical vintage response. Along with FF\/FB modes, there are also 1:1 to 40:1 ratio controls and threshold from -30dBu to +20dBu, together with Attack from 20 to 75ms (.1 ms in fast mode), Release from 100ms to 2.5s, and Make up gain from 0 to 20dB with a Stereo Link.\u003cbr\u003e \u003cbr\u003e The Portico II compressor however incorporates a number of new ways to tame or enhance dynamics. HPF to SC inserts the High Pass Filter into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. The “Fast” switch alters the compressor’s attack to react to transients with a roughly .1ms response time. When “fast” is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings.\u003cbr\u003e \u003cbr\u003e “Blend” works by creating a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.\u003cbr\u003e \u003cbr\u003e To further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal under another. (for instance, a voice-over keying the compressor to duck a background music track). By connecting the “link” jack on the back of the Portico II to another Portico II link jack and engaging the Link buttons, the compressor section may be used for stereo material.","brand":"Rupert Neve Designs","offers":[{"title":"Default Title","offer_id":44449366900839,"sku":"15117","price":2800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/rupert_neve_portico2_channel_strip_1.jpg?v=1787088730"},{"product_id":"neve-8801-w-adc","title":"Neve 8801 with Factory Installed AD Output Card","description":"\u003cb\u003eNeve 8801 with Factory Fitted ADC\u003c\/b\u003e \u003cbr\u003eThe sound of the legendary 88R console in a rack. The Neve 8801 offers a classic Neve mic pre and the distinctive Neve EQ coupled with the incredible 88R style dynamics processor. The truly ground breaking Producer Pack delivers a front end with the quality and versatility to capture and enhance any performance that requires the distinctive Neve sound. The Neve mic pre is followed by hi pass and low pass filters, four bands of EQ, compressor, gate, dynamics side chain and insert point. The order of these facilities may be changed as the producer requires. The filter section and\/or the EQ section can be routed to the dynamics side chain to tailor the dynamics response on any input signal. An optional analogue to digital converter includes all standard sample rates to 192kHz and direct to DSD conversion. Neve Recall s\/w can run on a PC or a Mac. This is an essential tool for creative flexibility, analogue outboard can now be used alongside workstations and their settings recalled whenever required. All the flexibility of a computer based system with the power and sound of genuine Neve technology. \u003cbr\u003e\u003cbr\u003e","brand":"Neve","offers":[{"title":"Default Title","offer_id":44449415561319,"sku":"9384","price":4150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/neve_8801_with_adc_718ae1ce-0b3a-4226-9f05-4a0fbe8cb40f.jpg?v=1787088905"},{"product_id":"manley-voxbox-demo-deal","title":"Manley VOXBOX (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eManley Labs VOXBOX\u003c\/strong\u003e combines the legendary Manley Mono Mic Preamp, the ELOP reborn as a lower ratio compressor, the MID EQ blown out as a full range PEAK-DIP-PEAK EQ, and a DeEsser with a second ELOP limiter at the end. Using the Direct Input, bass players often wonder why it wasn’t named the BASSBOX.\u003c\/p\u003e\r\n\u003cp\u003ePrimarily, it is a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and well thought-out ergonomics. Full of features, timeless style, robust build quality, and that world-famous Manley Sound!\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eMICROPHONE PREAMP SECTION\u003c\/h3\u003e\r\n\u003cp\u003eThe preamplifier Manley's renowned Mono Microphone Preamplifier! The mic input transformer is Manley's own design wound in-house at the Manley Labs factory. High-current 48V Phantom power is switchable from the front panel. A simple and effective passive BASS CUT switch kills rumble and reduces popping. The INPUT ATTENUATOR is a variable pad control situated before the first tube stage allowing the preamplifier to accommodate +4 line level signals via the balanced LINE INPUT and instruments via the front panel 1\/4\" DIRECT INPUT. These inputs are selected in the middle position of the dual-function phase invert switch. There is both a transformer balanced XLR output as well as a transformerless \"audiophile\" 1\/4\" phone jack output. The Gain switch is actually a clever variable feedback control that changes not only the gain but the slew rate and flavor of the circuit. With it you can choose how laid back and mellow or how up-front and aggressive you want it to get. Headroom is a strong point in this circuit with +31 dBu capable. This is 5 to 10 dB better than almost all other pro gear. The music passes through only super-clean pure Class A vacuum tube circuitry. There are obvious advantages to this purist approach and foremost is the un-electronic final sound that carries emotion into the digital realm.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eCOMPRESSOR SECTION\u003c\/h3\u003e\r\n\u003cp\u003eThis cool compressor design takes the opto-isolator approach of the Manley ELOP Limiter to the max. The Ratio has been adjusted down to 3:1 to turn the ELOP into a compressor and added ATTACK and RELEASE controls for more versatility. What is clever is how the signal is compressed before it hits the tubes with no detrimental effect on distortion or frequency response. This way, it can prevent mic pre clipping and eliminate whole stages of electronics. This cuts the typical path of mic to tape in half! Manley also pioneered new thinking in the sidechain by using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls - an approach called \"Parametric Compression.\" Manley developed optimum settings or presets based on the favorite Vactrols used in the fast ELOP Limiter, the quick LA-2A's T-4 module, the slower LA-3A and then created more complex special settings. This extended range and method of timing delivers fresh sounds from powerhouse punching drums to super-solid bass yet can also emulate the way good engineers delicately ride a fader while recording. It is transparent and liquid-smooth on vocals, easy to use and accurate. Also rare for an opto-based dynamic processor, this compressor works great on mixes. Of course, you'll be needing two VOXBOXes linked in stereo...\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eEQ SECTION\u003c\/h3\u003e\r\n\u003cp\u003eThe EQ section features an expanded Pultec-style equalizer with 33 frequencies in 3 bands with 6 new frequencies from 20 Hz to 150 Hz, and 6 more in the highs from 6.4 kHz to 20 kHz. Ever notice that only EQs with real inductors have the bottom end magic or that only Class A circuitry can keep the top end sweet? This is for you. The EQ INPUT switch patches in the Line Input, Preamp Output, or the INSERT return. This switch serves double-duty acting as a bypass switch for the preamp and\/or external processors or for processing two different tracks.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eDE-ESSER \u0026amp; LIMITER SECTION\u003c\/h3\u003e\r\n\u003cp\u003eDesigned by folks with admittedly large gaps between their two front teeth, the VOXBOX combo also includes a de-esser and peak limiter based on the original ELOP Limiter design but with an added passive LC network to handle the de-essing four carefully chosen notch frequencies from 3 kHz to 12 kHz (that 3 kHz setting really tames those annoying frequencies!). The fifth position gives you a limiter which totally mimics the famous LA-2A. This means you can both compress pre-EQ then limit here post-EQ. Another cool feature is the ability to insert this de-esser silently and smoothly as the music plays, using it as needed.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_4\"\u003eTHE METER\u003c\/h3\u003e\r\n\u003cp\u003eThe METER is a full size illuminated Sifam VU meter. A five-position switch shows three audio levels: the line input, the preamp output and the final output. It also shows compressor gain reduction and the de-esser\/limiter action. Other clever innovations incorporated into the VOXBOX combo include warm-up muting circuitry, extensive magnetic field containment, 'smart -grounding,' and silent switching. The sum-total is more than the separate parts: consider the reduced patching, the short path to tape and you having this much immediate control. As engineers, we choose what we use not based entirely on features and functions - there is a sound, a texture we reach for and the VOXBOX combo puts the 'Manley Sound' together with 'Your Sound.'\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449477165159,"sku":"18265","price":4179.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley_voxbox_1_2_6650fcd3-0f95-47ce-941e-3b1f07bf8c44.jpg?v=1787089106"},{"product_id":"tree-audio-the-branch","title":"Tree Audio The Branch","description":"The Branch by Tree Audio is an all in one mic pre, line input, direct input (instrument In), EQ, and limiter with custom wound input and output transformers that provides the same high-quality sound and circuitry as the Roots Console. Includes vacuum tube and linear regulated power supply.","brand":"Tree Audio","offers":[{"title":"Default Title","offer_id":44449503215719,"sku":"30887","price":2245.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/tree_audio_branch_front_aea7d77c-14e6-4dcf-8168-cacfae36defe.jpg?v=1787089231"},{"product_id":"overstayer-ampeq-02-channel-strip","title":"Overstayer AMPEQ-02 Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eOverstayer AMPEQ-02\u003c\/strong\u003e combines a world-class discrete mic preamp, line amp, and DI, with proprietary harmonics processing and ultra-smooth two-band vintage-style passive EQ.  This collection of features allows users to bring a veritable palette of analog colors into the clinical digital recording realm. \u003cbr\u003e\u003cbr\u003e More than just another preamp\/EQ combo, the AMPEQ-02's integrated harmonics section allows the user to dial in exactly how much color and character is desired on any source.  Whether adding punch to drums, giving apparent loudness to guitars, crunching out basses and synths, or even subtly shaping the mix bus, the AMPEQ-02's simple controls can harness the tonal complexity of just about anything.  \u003cbr\u003e\u003cbr\u003e LINE\/MIC\u003cbr\u003e Selects between LINE (button in) and MIC (button out) input. Inserting a 1\/4\" plug into the DI jack automatically switches the source to DI regardless of the setting. \u003cbr\u003e\u003cbr\u003e PAD\u003cbr\u003e Engages a 20 dB pad on the MIC or LINE input. \u003cbr\u003e\u003cbr\u003e POL\u003cbr\u003e Flips the polarity of the signal on the MIC or LINE input. \u003cbr\u003e\u003cbr\u003e GAIN\u003cbr\u003e Sets the amount of gain of the MIC\/LINE amplifier. \u003cbr\u003e\u003cbr\u003e OUTPUT\u003cbr\u003e Attenuator sets the final output level. \u003cbr\u003e\u003cbr\u003e HARM\u003cbr\u003e The Harmonics circuitry allows the pre to have 3 different characters. Harmonics out is the cleanest, with the most headroom and lowest harmonic distortion. HARM 2 creates stronger 2nd-order harmonic. HARM 3 creates stronger 3rd-order harmonic.  Both modes soft clip and can reduce peaks while increasing apparent volume. \u003cbr\u003e\u003cbr\u003e LF BOOST\u003cbr\u003e Sets the amount of low boost at the selected frequency (30, 60, or 100 Hz). \u003cbr\u003e\u003cbr\u003e LF ATTEN\u003cbr\u003e Sets the amount of low frequency attenuation at the selected frequency (50 Hz or 100 Hz), can be used in conjunction with the LF BOOST to create mid band cuts. \u003cbr\u003e\u003cbr\u003e HF BOOST\u003cbr\u003e Sets the amount of high boost at the selected frequency (4 KHz, 8 KHz, or 12 KHz). Pulling this control out BYPASSES the EQ. \u003cbr\u003e\u003cbr\u003e PHANT\u003cbr\u003e Engages phantom power to the microphone input.\u003c\/p\u003e","brand":"Overstayer","offers":[{"title":"Default Title","offer_id":44449514455143,"sku":"31341","price":1595.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/overstayer_ampeq_front_1_68046b35-a497-48aa-bb0f-c53aacbdfab5.jpg?v=1787089273"},{"product_id":"api-the-channel-strip-demo-deal","title":"API The Channel Strip (Demo Deal)","description":"\u003cp\u003eThe result of thoughtful engineering, the Channel Strip includes everything needed to record an audio signal. It all starts with the famed 512c mic preamplifier, which includes the benefit of additional mic, line or instrument input switching.  Next is the 527 multi-mode  compressor with fully adjustable Threshold, Attack, Release, and Ratio controls on detented pots.  The patented THRUST® circuit in the 527 gives your track the \"in-your-face\" punch that has made this circuit an award winner. Also included in The Channel Strip is probably the most recognized and revered API EQ of all time, the 550A three-band equalizer with its switchable frequencies and 12dB of boost or cut.  The 550A's high and low frequency bands can be individually switched to be shelving EQs, and the \"B.P. Filter\" switch inserts a 50Hz to 15KHz bandpass filter.\u003cbr\u003e \u003cbr\u003e At the output of the unit is the 325 Line Driver, taken directly from API console designs with an output level pot and 10 segment meter.  The meter can also be switched to show the output level of the preamp.  Each of the Channel Strip's processing pieces can be switched in or bypassed individually, while a flip switch internally routes the compressor after the EQ if desired.  Additional features include a side-chain input and the famous API 2520\/transformer combination.\u003c\/p\u003e","brand":"API Audio","offers":[{"title":"Default Title","offer_id":44449542963303,"sku":"32399","price":2313.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/api_channel_strip_1_d27fd445-5ee9-425f-888b-686ceb269fc7.jpg?v=1787089387"},{"product_id":"universal-audio-6176-demo-deal","title":"Universal Audio 6176 (Demo Deal)","description":"The \u003cb\u003eUniversal Audio 6176 Channel Strip \u003c\/b\u003ehas been presented. Many users who demand the power and flexibility of today's recording technology find themselves yearning for the warmth and tone of yesteryear's hand-built analog circuitry. Now with the release of the 6176, Universal Audio, for the first time, combines their highly acclaimed 610 tube microphone preamp with their legendary 1176LN compressor to create the ultimate single channel signal path for everything from vocals to vibraphones. \u003cp\u003e\u003cb\u003e610B Mic Pre\u003cbr\u003e\u003c\/b\u003eThe 2-610 microphone and instrument preamplifier has received praise from many corners. Michael Cooper, in his review for Mix Magazine, called it \"hands-down, the most dimensional mic preamp I've ever heard!\" Peter Wade, engineer\/producer who has worked with acts ranging from Wyclef Jean to Jennifer Lopez, said simply, \"This box rocks.\" The 6176 mic preamp sections maintains the quality and character of the 2-610 while adding high-tension power regulation for improved bass response and a front-panel 15db pad switch.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1176LN Limiting Amplifier\u003cbr\u003e\u003c\/b\u003eAs legendary engineer\/producer Andy Johns put it, \"The 1176LN is the workhorse compressor.\" The 1176LN may well be the most loved compressor in history. Its trademark lightning-quick attack and release times and the tone of its Class A output amplifier have enhanced countless recordings over the last thirty-five years. We've recreated the 1176LN for the compressor section of the 6176 with the same exacting, attention to detail and tradition we use on our 1176LN. The resulting character, heritage and tone simply cannot be found on other channel strip units \u003c\/p\u003e\u003cp style=\"font-weight: bold;\"\u003eAudio Inputs--Mic Pre Section\u003c\/p\u003e \u003cul\u003e \u003cli\u003eMicrophone (Female XLR) \u003c\/li\u003e\n\u003cli\u003eBalanced Line (Female XLR) \u003c\/li\u003e\n\u003cli\u003eUnbalanced Line\/Instrument (1\/4\" jack) on front panel\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp style=\"font-weight: bold;\"\u003eAudio Inputs--Compressor Section\u003c\/p\u003e \u003cul\u003e \u003cli\u003eBalanced Line (Female XLR) for use in \"Split Mode\"\u003c\/li\u003e\n\u003c\/ul\u003e \u003cp style=\"font-weight: bold;\"\u003eAudio Outputs--Mic Pre Section\u003c\/p\u003e \u003cul\u003e \u003cli\u003eBalanced Line (Male XLR) for use in \"Split Mode\" \u003c\/li\u003e\n\u003c\/ul\u003e \u003cp style=\"font-weight: bold;\"\u003eAudio Outputs--Compressor Section\u003c\/p\u003e \u003cul\u003e \u003cli\u003eBalanced Line (Male XLR) \u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Universal Audio","offers":[{"title":"Default Title","offer_id":44449580351591,"sku":"35349","price":2569.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/universalaudio_6176_1_1_1_6178b9dd-9fe7-482f-a33b-3a0cc4e9c105.jpg?v=1787089550"},{"product_id":"manley-core","title":"Manley Core Reference Tube Channel Strip","description":"\u003cp\u003eThe \u003cstrong\u003eManley Core\u003c\/strong\u003e is an innovative channel strip that combines Manley’s Greatest Hits with fresh technology. The remarkably intuitive front panel combines musical and forgiving circuitry that allows the musician to concentrate on his performance instead of being lost in a sea of knobs. Ease of use and intelligently chosen operating points make it virtually impossible to cut a bad sounding track!\u003c\/p\u003e\r\n\r\n\u003cp\u003eManley’s experience and insight working with the industry’s top recording engineers and musicians culminates in the CORE. At this price, there is no other channel-strip with higher headroom or more seductive sound than the CORE. Handcrafted in the USA, built like a tank, built to endure, the epicenter of your recorded art will be the Manley CORE.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe signal enters through our renowned handwound MANLEY IRON input transformer with nickel laminations in a mu-metal can. The tube amplifying stage is the latest implementation of our famous Class A circuit topology found in the VOXBOX and Manley Dual Mono \u0026amp; Mono Microphone Preamplifiers. This all-triode vacuum tube circuit runs on a regulated 300 Volt B+ supply yielding huge headroom and relentless output drive capability.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Default Title","offer_id":44449590149223,"sku":"36214","price":2899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/manley_core.jpg?v=1787089592"},{"product_id":"ssl-x-rack-flayva-channel-strip-bundle","title":"SSL X-Rack Flayva Channel Strip Bundle","description":"\u003cp\u003eThe \u003cstrong\u003e SSL X-Rack Flayva Channel Strip Bundle\u003c\/strong\u003e includes the highly sought after sound featuring a VHD Mic pre from the Duality console, 4k EQ and 4K Dynamic section from the SL 4000 E console.  A combination of elements including the devilishly warm and dirty alternative VHD Mic Pre module, coupled with “Black-242” and “Brown-02” twin EQ design. And the sound of the original SL 611E Series Dynamic strip featured on countless 1980’s recordings.\u003c\/p\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\r\n\u003cp\u003eThe \u003cstrong\u003eE Series Dynamics Module\u003c\/strong\u003e is one of two new modules for the X-Rack\/Mynx SuperAnalogue modular mixing and processing system. The new E Series Modules reproduce the legendary sonic signature of an early 80's classic, the SL 4000 E console channel strip, which was featured on countless 1980s recordings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe E Series Dynamics Module features a compressor\/limiter and an expander\/gate, both of which return faithfully to the circuitry and key components which define the sound of the original SL 611E Series channel strip. A true RMS converter is used in the side chain while the gain element is an all discrete design identical to the Class A VCA chip used in the original unit. The compressor contains additional switching options to defeat the over-easy curve and to use a linear release instead of the more usual logarithmic curve. The result is a compressor with three distinct voices, each with its own musical character.\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003chr\u003e\r\n\r\n\r\n\u003cp\u003eThe \u003cstrong\u003eE Series EQ Module\u003c\/strong\u003e is one of two new modules for the X-Rack\/Mynx SuperAnalogue modular mixing and processing system. The new E Series Modules reproduce the legendary sonic signature of an early 80s classic, the SL 4000 E console channel strip, which was featured on countless 1980s recordings.\r\nThe E Series EQ Module features two different EQs found on editions of the console produced between 1979 and 1987. Each EQ has unique response curves and tonal character. They are distinguished by the colors used on the LF knob caps so the two flavors have become known as the Brown and Black EQs. On the E Series EQ Module you can switch between these two different flavors of EQ that have been loved by generations of professional producers.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eFeatures\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eImmortal SSL 4000 E Series circuitry\u003c\/li\u003e\r\n\u003cli\u003eBlack-242 and Brown-02 twin EQ design\u003c\/li\u003e\r\n\u003cli\u003eBell curve option on HF and LF\u003c\/li\u003e\r\n\u003cli\u003eFully parametric LMF and HMF with Q\u003c\/li\u003e\r\n\u003cli\u003eBased on classic 611E console channel strip\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\r\n\u003chr\u003e\r\n\r\n\r\n\u003cp\u003eThe \u003cstrong\u003eVHD Mic Pre Module\u003c\/strong\u003e is a devilishly warm and dirty alternative to the pure Mic Amp Module. A front end that combines classic SSL character with our new Variable Harmonic Drive circuit, delivering a time machine of overdrive characteristics.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eFeatures\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eElectronically balanced ultra-high bandwidth Mic input with +20dB to +70dB gain control\u003c\/li\u003e\r\n\u003cli\u003eHi-Z and Pad Switches on Mic Amp Input\u003c\/li\u003e\r\n\u003cli\u003eDedicated Additional XLR Line Input\u003c\/li\u003e\r\n\u003cli\u003eVariable Harmonic Drive circuit adds a controllable blend of 2nd or 3rd Harmonic distortion\u003c\/li\u003e\r\n\u003cli\u003eDedicated Trim control after the VHD stage\u003c\/li\u003e\r\n\u003cli\u003eClassic Listen Mic Compressor with fixed attack and release curves ideal for drums\u003c\/li\u003e\r\n\u003cli\u003eHigh and Low-Pass Filters\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"SSL","offers":[{"title":"Default Title","offer_id":44449705984103,"sku":"47397","price":2997.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/ssl_x_rack_flayva_bundle_3773a2be-9d73-4bfc-9800-7c71ad871b91.jpg?v=1787090075"},{"product_id":"ssl-x-rack-stereo-mastering-channel-bundle","title":"SSL X-Rack Stereo Mastering Channel Bundle","description":"\u003cp\u003eThe \u003cstrong\u003eSSL X-Rack Stereo Mastering Channel Bundle\u003c\/strong\u003e features the stereo versions of the 9K EQ and Dynamic modules found on the AWS 948 coupled with the Stereo Bus Compressor Module. Although each module stands on its own in the mix room, these three come together to make a formidable sound shaping tour de force in the mastering room.\u003c\/p\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\r\n\u003cp\u003eThe \u003cstrong\u003eX-Rack Stereo Dynamics\u003c\/strong\u003e module is a Stereo version of the powerful SSL channel dynamics. Featuring independent Compressor\/ Limiter and Expander\/Gate circuits, the Stereo Dynamics module provides the familiar SSL Superanalogue level control tools for both Recording and Mixing applications. The Compressor section can switch between a gentle Over easy RMS compression and a more aggressive Peak sensing or Hard Knee mode providing a wide range of levelling control. The secondary circuit can function as either a Noise Gate or an Expander further enhancing the creative sound sculpting possibilities. The feature set is completed by an External Key Input (mono) and the ability for multiple adjacent units to be linked.\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003chr\u003e\r\n\r\n\r\n\u003cp\u003eThe \u003cstrong\u003eX-Rack Stereo EQ Module\u003c\/strong\u003e is a stereo version of SSL's console Channel EQ. It is a classic SSL four-band parametric EQ that is a superb all round frequency adjustment tool kit. Whether you need pinpoint accuracy for surgical problem solving, smoother broader sound shaping, or a little more aggressive character the SSL channel EQ will give you what you need. This is a fully featured EQ with high- and low-bands switchable between shelving or fixed Q bell curves and two mid-bands each with variable Q control. This stereo version also has a Selective Mode switch which enables independent switching of high \u0026amp; low bands and mid bands between SSL's E \u0026amp; G series console EQ characteristics to provide an even more versatile EQ design.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eFeatures\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eStereo version of the XL 9000 K Channel Equaliser as used on Duality \u0026amp; AWS consoles\u003c\/li\u003e\r\n\u003cli\u003eSelective Mode: E and G characteristic switching, which enables independent switching of high \u0026amp; low bands and mid bands between E or G curves\u003c\/li\u003e\r\n\u003cli\u003eHigh and low-bands switchable between shelving and fixed Q Bell curves\u003c\/li\u003e\r\n\u003cli\u003eEQ IN switch for A\/B comparison\u003c\/li\u003e\r\n\u003cli\u003eRear panel connections on balanced TRS Jack\u003c\/li\u003e\r\n\u003cli\u003eTotalRecall status LEDs\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\r\n\u003chr\u003e\r\n\r\n\r\n\u003cp\u003eThe centre section compressor from the 1980's G-Series analogue console is an audio production legend. It is a simple unit with a simple purpose; it makes complete mixes sound bigger, with more power, punch and drive. It brings cohesion and strength to your mix without compromising clarity. The \u003cstrong\u003eStereo Bus Compressor Module\u003c\/strong\u003e brings this classic audio glue to you with spectacular SuperAnalogue audio performance.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eFeatures\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eClassic sonic character and mix finalizing capabilities of SSL Stereo Bus Compression\u003c\/li\u003e\r\n\u003cli\u003eTrue Stereo side-chain input for external signal keying\u003c\/li\u003e\r\n\u003cli\u003eLink control enables several modules to be combined for surround compression\u003c\/li\u003e\r\n\u003cli\u003eGain reduction meter as fitted to the classic SSL console range\u003c\/li\u003e\r\n\u003cli\u003eElectronically balanced XLR connections\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"SSL","offers":[{"title":"Default Title","offer_id":44449706016871,"sku":"47398","price":5237.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/ssl_x_rack_stereo_bundle_9b6b9d80-b981-4839-ad1e-594092d4bc54.jpg?v=1787090074"},{"product_id":"presonus-rc-500","title":"PreSonus RC 500","description":"\u003cp\u003eIt's rare to find a truly outstanding solid-state channel strip that can deliver a vintage vibe reminiscent of classic high-end products, yet employs a thoroughly modern design. To find one that you can buy without heavily depleting your bank account is even more rare. But there is one channel strip that delivers the goods without the big tab: the \u003cstrong\u003ePreSonus RC 500\u003c\/strong\u003e. The RC 500 combines a custom-designed FET compressor and semi-parametric EQ with a distinctive, ultra-low-distortion, high-gain, solid-state Class A preamplifier design. The result is a top-of-the-line — yet very affordable — channel strip for recording engineers and recording musicians with a sound that is reminiscent of classic, vintage solid-state preamps.\u003c\/p\u003e  \u003ch3\u003eThe solid-state preamp that instantly became a legend\u003c\/h3\u003e  \u003cp\u003eWhen Robert Creel, the engineering mastermind behind the XMAX™ preamp and many of our other best analog circuits, demonstrated his newest solid-state preamp design, we knew it was going to be special. Creel’s new preamp uses a Class A hybrid input stage with discrete transistors and the latest-generation, low-distortion operational amplifiers, and when we heard its transparent, detailed, clear sound, it instantly became an in-house legend. By popular demand, Creel’s superb preamp became the heart of the new RC 500, named \"RC\" in his honor.\u003c\/p\u003e  \u003ch3\u003eClean, fast, reliable FET compression\u003c\/h3\u003e  \u003cp\u003eThe RC 500’s FET (Field-Effect Transistor) compressor includes fully variable attack, release, and threshold controls, as well as bypass controls. FET-based compressors such as the one in the RC 500 use transistors to emulate a triode tube’s operation and sound. This type of compressor generally provides a faster attack time and better repeatability than the optical compressors typically found in channel strips. The RC 500 compressor has a “soft knee” compression curve and a fixed 3:1 compression ratio, although the input-gain stage can be driven harder, with a lower threshold, to emulate higher compression ratios. This combination provides lots of flexibility without adding complexity, making dialing in just the right sound quick and easy! ​\u003c\/p\u003e  \u003ch3\u003eSmooth, refined, musical EQ\u003c\/h3\u003e  \u003cp\u003eThe RC 500’s 3-band semi-parametric EQ was designed to match its preamp and compressor. It combines isolated filters and optimized, per-band Q to provide subtle signal-shaping without harsh artifacts. All three bands have Gain (±16 dB) and Frequency controls and fixed Q (0.5), and the mid and high bands have overlapping frequency ranges. The low and high bands are switchable between shelving and peak. Both the compressor and the EQ can also be hard-bypassed, allowing you to remove either or both from the circuit.\u003c\/p\u003e  \u003ch3\u003eA wealth of connections and features\u003c\/h3\u003e  \u003cp\u003eWhen you have a special processor like the RC 500, you’ll want to use it in a wide range of applications, so we’ve given it flexible I\/O and all the features you’re likely to need. Rear-panel XLR mic and line inputs and a front-panel ¼” instrument input accept a variety of sound sources, managed by a handy Input Select switch. You get balanced outputs on XLR and ¼” TRS connectors as well as a balanced send and return for patching in your favorite boutique processor—or use the send to record both the processed and the unprocessed preamp signals at the same time. We also included +48V phantom power, polarity inversion, a 20 dB pad, and a -12 dB\/octave highpass filter with a threshold set at 80 Hz. A large, backlit, dual-mode analog VU metering enables monitoring of output and gain-reduction levels. A master level control adjusts the overall output from -80 to +10 dB. It all adds up to a complete, versatile channel strip that will enhance any studio.\u003c\/p\u003e  \u003ch3\u003eGet the new classic\u003c\/h3\u003e  \u003cp\u003eWith its features, connectivity, and outstanding sound, the RC 500 is fast becoming a classic channel strip. The way the preamp, compressor, and EQ work together is truly magical; we can describe it but you really should hear it for yourself.\u003c\/p\u003e","brand":"PreSonus","offers":[{"title":"Default Title","offer_id":44449764114535,"sku":"39921","price":599.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/presonus_rc-500-front_9f211326-066b-4c40-8802-193c3b3b625c.jpg?v=1787090311"}],"url":"https:\/\/vintageking1.myshopify.com\/collections\/recording-outboard-preamps-channel-strips.oembed","provider":"VINTAGE KING AUDIO","version":"1.0","type":"link"}