Prosessorer

Hovedbilde SSL PureDrive Octo 8-kanals ...

23.990,-

SSL PureDrive Octo 8-kanals Mic Preamp PURE DRIVE OCTO harnesses the renowned SuperAnalogue PureDrive™ microphone preamp technology originally featured in Solid State Logic's ORIGIN console, introduces a new DRIVE mode and connectivity, and makes it available in an 8-channel 2U rackmount unit. SSL's contemporary-classic recording console, ORIGIN, introduced the PureDrive™ microphone preamplifier. This innovative preamp retains the clarity and punch of previous SSL designs while offering the added versatility of switching its character to a warm, harmonically rich, and driven tone that varies with gain. ORIGIN, along with the PureDrive™ microphone preamp, has made its mark in the world's premier studios. Whether it's capturing the delicate nuances of a piano concerto in PURE mode or imparting warmth on a drum recording when set to DRIVE, the PureDrive™ microphone preamp has become an essential tool in some of the most prestigious studios and recording facilities due to its flexibility and superb sonic signature. PURE DRIVE OCTO continues the legacy into rack format, delivering eight microphone preamps with ORIGIN’s renowned PURE and DRIVE modes, but takes it further, adding a new ‘Asymmetric’ DRIVE, advanced digital connectivity, and an onboard USB interface. PURE DRIVE OCTO offers four mic preamp input impedance options, enabling engineers to explore various tonal possibilities or match the mic pre's impedance closely to the microphone. Additionally, each mic pre includes independent +48V phantom power, polarity inversion, and a High Pass Filter. PURE DRIVE OCTO stands as one of the most capable and feature-rich outboard microphone preamplifiers available, introducing a host of new sonic possibilities and workflows for the discerning producer and recording engineer. 3 DRIVE Flavours, 1 Mic Pre PURE DRIVE OCTO is a testament to SSL's commitment to progressive analogue circuit design. No electro-mechanical components (potentiometers, mechanical switches, relays etc) are used in the critical audio signal path of PURE DRIVE OCTO, increasing product longevity, and allowing impeccable ‘matching’ between all channels – not just a stereo pair. The use of digitally controlled analogue circuits, controlled by detented pots and electronic switches simplifies recall and precision of settings. Each of PURE DRIVE OCTO’s mic pre’s can be independently switched between three distinct DRIVE modes: Clean, Classic Drive, and Asymmetric Drive. Clean mode delivers the highly regarded, ultra-low noise floor, linear SSL preamp that is recognised for its ability to faithfully capture the sound of the source with exceptional clarity and detail. Classic Drive is the symmetrical mode that generates predominantly odd harmonics; the same drive sound found on the ORIGIN console. Asymmetric Drive offers up a new colouration option, specifically designed for the PURE DRIVE range, making the even harmonic content dominant and providing more pronounced thickness, colouration and softening of transients. Advanced Connectivity PURE DRIVE OCTO's advanced connectivity opens a world of recording possibilities. Its comprehensive selection of analogue and digital I/O offers microphone preamps with exceptional performance and flexibility, whether you're tracking a band in a world-class studio or adding warmth to stems in a production scenario. It's also ideal for project studios and on-location sessions where quality cannot be compromised, thanks to its integrated USB sound card. PURE DRIVE OCTO features eight rear-mounted combo XLR inputs, four front-panel Hi-Z/DI instrument inputs with automatic input detection, and three sets of D-sub connectors for line-level inputs, as well as insert send and insert return. PURE DRIVE OCTO’s insert returns/ADC inputs operate up to full +24 dBu line-level, for interfacing with other professional equipment. PURE DRIVE OCTO's versatile digital connectivity features an integrated USB soundcard providing eight channels of audio into your DAW up to 32-Bit/192 kHz. Four AES/EBU output pairs, and ADAT out, offering eight channels at 24-bit/48 kHz, or up to four channels at 24-bit/192 kHz via SMUX. The AES and ADAT outputs can even be individually repurposed to be fed from the onboard USB soundcard as outputs from your DAW. Finally, there's an auto-ranging word clock input and output for robust digital clocking. Specs: 8 channel high-performance PureDrive™ mic preamps　 +48V phantom power, polarity invert and 3rd order hi-pass filter Stepped Gain control up to +65 dB Gain　 31-step Trim control, with precise 1 dB increments – overdrive the signal with the Gain control and then reduce to a suitable level using Trim.　 3 modes for each preamp – Clean, Classic Drive and Asymmetric Drive　 Mic/Line Input Switching　 Mic via XLR　　 Line via choice of TRS Jack or dedicated D-Sub connectivity　 4 x front panel Hi-Z/DI Instrument unbalanced inputs with automatic input detection　 4 mic preamp input impedance options – explore new tonal possibilities from your dynamic and ribbon microphones　 Balanced analogue outputs/insert sends for external processing　 +24 dBu professional line level insert returns/ADC inputs　 Analogue to digital connectivity via ADAT, AES and USB Ability to switch ADAT and AES connections to source audio from DAW outputs (USB) instead of the A/D converter　 USB soundcard mode　 OCTO – 8 in / 24 out (@44.1/48 kHz)　　8 x analogue / 8 AES + 16 ADAT outs　 Stepped pots and digitally controlled analogue electronics for precision, stereo matching and ease of recall　 Up to 192 kHz and 32-bit conversion, professional I/O levels (+24 dBu = 0 dBFS).　 Selectable Auto-Sleep mode　 Auto-ranging Wordclock In and Out

SSL PureDrive Quad 4-kanals ...

13.390,-

SSL PureDrive Quad 4-kanals Mic Preamp PURE DRIVE Pre's harnesses the renowned microphone preamp technology from Solid State Logic's ORIGIN console, introduces a new DRIVE mode and connectivity, and makes them available in 2U rackmount unit. PURE DRIVE QUAD takes it further, adding a new ‘Asymmetric’ DRIVE, advanced digital connectivity, and an onboard USB interface. PURE DRIVE QUAD offers four mic preamp input impedance options. Additionally, each mic pre includes independent +48V phantom power, polarity inversion, and a sweepable High Pass Filter. PURE DRIVE QUAD stands as one of the most capable and feature-rich outboard microphone preamplifiers available. 3 Flavours, 1 Mic Pre No electro-mechanical components (potentiometers, mechanical switches, relays etc) are used in the critical audio signal path of PURE DRIVE QUAD, allowing impeccable ‘matching’ between all channels. The use of digitally controlled analogue circuits, controlled by detented pots and electronic switches simplifies recall and precision of settings. Each of PURE DRIVE QUAD’s mic pre’s can be independently switched between three distinct DRIVE modes: Clean, Classic Drive, and Asymmetric Drive. Advanced Connectivity PURE DRIVE QUAD’s advanced connectivity opens a world of recording possibilities. Its comprehensive selection of analogue and digital I/O offers microphone preamps with exceptional performance and flexibility. It's also ideal for project studios and on-location sessions where quality cannot be compromised, thanks to its integrated USB sound card. PURE DRIVE QUAD features four rear-mounted combo XLR inputs, four front-panel Hi-Z/DI instrument inputs with automatic input detection, and three sets of D-sub connectors for line-level inputs, as well as insert send and insert return. PURE DRIVE QUAD’s insert returns/ADC inputs operate up to full +24 dBu line-level, for interfacing with other professional equipment. PURE DRIVE QUAD’s versatile digital connectivity features an integrated USB soundcard providing four channels of audio into your DAW up to 32-Bit/192 kHz. Two AES/EBU output pairs, and ADAT out, offering four channels at 24-bit/48 kHz, or cascade two PURE DRIVE QUADs via its convenient ADAT LINK IN connection and access up to eight channels. The AES and ADAT outputs can even be individually repurposed to be fed from the onboard USB soundcard as outputs from your DAW. Finally, there's an auto-ranging word clock input and output for robust digital clocking

SSL SSL 500-Series Bus ...

12.890,-

SSL G-COMP BUS COMPRESSOR Features Legendary SSL G Series Stereo Bus Compressor THE glue and punch maker Additional compression ratio settings 1.5 / 3 / 10 Renowned ‘Auto’ release HPF in sidechain switchable to 30Hz / 60Hz / 106Hz / 125Hz / 185Hz Sidechain In / Out switch Audio production legend The legendary sound of the SSL Stereo Bus Compressor has been glueing mixes together for 40+ years. Often imitated but never equaled, the centre section compressor from the 1980's Solid State Logic 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. The SSL Bus Compressor turns a mix into a record... The Stereo Bus Compressor brings cohesion and strength to your mix unlike any other processor. To this day it remains a key element of the SSL sound and has become not just a tool for production but a part of top engineers and producers creative process. Key features Legendary SSL G Series Stereo Bus Compressor THE glue and punch maker Additional compression ratio settings 1.5 / 3 / 10 Renowned ‘Auto’ release HPF in sidechain switchable to 30Hz / 60Hz / 106Hz / 125Hz / 185Hz Sidechain In / Out switch

SSL Super 9000 Channel Strip

19.990,-

SSL - Super 9000 Channel Strip Solid State Logic Super 9000. Superior Punch and Clarity, Unparalleled SuperAnalogue™ Performance Super 9000 is Solid State Logic’s all-in-one analogue channel strip, combining the best of SuperAnalogue™ technology to deliver the modern SSL sound. First introduced in the legendary SL 9000 J and perfected in the Duality, the Super 9000 Channel Strip offers the ultra-low distortion, exceptional punch, and breathtaking clarity of our SuperAnalogue™ studio consoles in 1 RU. The 9000 Series made rock and pop mixes sound bigger than ever, while enhancing hip-hop and R&B with deep, extended low-end and shimmering highs. Renowned for making music sound larger than life, with unmatched dynamics and depth, the 9000 Series became the industry standard of its era – setting a milestone in analogue design and paving the way for the development of the Duality and Oracle consoles. Now, the Super 9000 brings that same professional polish – once exclusive to the colossal 9K consoles – straight into your studio. Prestigious facilities, including Abbey Road and Metropolis Studios (London), Real World Studios (Bath), Record Plant (LA), and Avatar/Power Station (NY), quickly made the 9000 Series their standard. Top engineers such as Manny Marroquin (Alicia Keys, Rihanna), Michael Brauer (Coldplay, John Mayer), Kevin Shirley (Iron Maiden, Led Zeppelin), and Tony Maserati (Jay-Z, Beyoncé) used SuperAnalogue™ sound to craft genre-defining hits. SuperAnalogueTM. Design SuperAnalogueTM technology creates a signal path so transparent and wide bandwidth that nothing is lost, putting the engineer right there in the room with the artist. Key design elements include: Super-wide audio bandwidth. Ruler flat frequency response: ±0.1 dB between 20 Hz – 20 kHz. Ultra-low transient intermodulation distortion. No electrolytic capacitors in the audio path. Extremely low noise and harmonic distortion. Exceptionally low phase shift across the audible spectrum. The result is unmatched punch, definition, and a larger-than-life sound stage—qualities that define the modern "SSL sound" and are why SuperAnalogue™ consoles remain the professional’s choice for music production. Dual Mic Amp – SuperAnalogueTM or VHDTM Choose between two world-class preamps, just like on SSL’s flagship Duality console. Opt for the pristine, high-headroom SuperAnalogue™ preamp for unmatched clarity, or switch to the Variable Harmonic Drive (VHD) circuit to add character and saturation. Shape your tone by dialling in 2nd order harmonics for rich, valve-like warmth, or add 3rd order harmonics for a harder, transistor-style edge. The INPUT FLIP button allows you to move the VHD circuit from the Mic Input to the Line Input, making it easy to add harmonic colour to DAW stems or line-level instruments and sources. Variable Harmonic Drive (VHD): Variable Harmonic Drive was created to provide engineers and producers with a single preamp capable of covering a wide tonal spectrum. Initially designed to complement the Duality console’s ultra-accurate SuperAnalogue™ preamp, VHD technology can be found across numerous SSL consoles and rackmount units – over the years becoming many engineers’ secret weapon for adding vibe to recordings. Full Dynamics Processing The Super 9000 features SSL’s quintessential modern dynamics section, delivering ultimate control and punch. Built around the high-performance THAT 2181A VCA, the compressor includes a switchable Fast Attack mode and the Peak Detect option—first introduced on the SL 9000 console and carried through to the Duality series. It also incorporates SSL’s classic Expander/Gate section with variable hysteresis built into the Threshold, plus a HOLD control for precise gate and downward expansion management. Additionally, Super 9000 allows the dynamics section to be moved Pre and Post EQ. Pink (292) and Black (242) EQ Circuits & High and Low Pass Filters Choose your SSL EQ: the 292 G-Series ‘Pink Knob’ EQ circuit or the 242 E-Series ‘Black Knob’ EQ circuit. The 292’s variable-Q design delivers smooth, wide boosts and cuts that tighten as you push harder, while its shelves feature a steeper slope and the signature ‘undershoot/overshoot’ for that renowned SSL musicality. The 242’s constant-Q design, developed in collaboration with Sir George Martin, gives more surgical control when compared to the 292. The Super 9000 EQ section also features two buttons labelled ‘E Bell/G÷3’ and ‘Gx3/E Bell.’ When in 292 mode, these buttons allow the Low-Mid Frequency to be divided by 3 and the High-Mid Frequency to be multiplied by 3, so that the mid-bands can be used to target frequencies normally far outside of their standard range, providing incredible flexibility and range. In 242 mode, these buttons switch the Low Frequency and High Frequency bands between Bell and Shelving modes. As expected from SSL, the EQ can be placed in the dynamics sidechain, and the high-pass (18dB/oct) and low-pass (12dB/oct) filters can be fully bypassed or routed to input or sidechain for ultimate control. Flexible Processing & Routing Super 9000 includes a balanced insert point for integrating additional outboard gear into the signal path. The insert can be repositioned from its default location (immediately after the input stage) to the output stage, just before the Output Trim. It also features a dedicated external sidechain (key) input, flexible processing re-ordering, and sidechain linking—ideal when using two Super 9000 units as a stereo pair. Input Flip control routes the LINE input to the Mic Pre, whilst the rear MIC connection becomes routed through the LINE path – an easy way to process line level DAW returns with saturation/distortion processing at the mix stage, without having to manually re-patch. Key Features Dual Mic Pre – Choose between SuperAnalogue™ (9000) & VHD™ (Duality) w/ +48V, Polarity invert, and Pad. 2 Impedance options for the mic pre: 1.3 kÙ and 11 kÙ. Dedicated LINE Input with "Input Flip". Quintessential 9000/Duality Dynamics section. High-Performance THAT 2181A VCA compressor section. Peak/Hard Knee or Soft Knee modes. FAST attack on/off. Classic Gate/Expander section. Fast attack on/off. Hold control. 4-band SSL EQ with switchable modes. Fully parametric mid-bands. Switchable between G-Series ‘Pink Knob’ 292 and E-Series ‘Black Knob’ 242 circuits. High and Low Pass filters. 18 dB per octave HPF & 12 dB per octave LPF. Insert point for connecting external devices into the signal path. Extensive ‘to sidechain’ functionality. Filters to Dynamics sidechain. EQ to Dynamics sidechain. Flexible process-order routing. Filters to input, Dynamics post-EQ, and Insert to output. Line Output Trim. Switchable Input and Output metering. External sidechain (key) input. Dynamics sidechain link – allows 2 x Super 9000’s compressors to work as a stereo pair (loudest signal wins). Linking via a TS/TRS jack cable (not included).

SSL The Bus+ 2-kanals ...

26.990,-

The Legend... Updated. If there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor. From the very first commercially released SSL 4000B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has always been the stalwart of the console centre section. For many of the world’s top engineers and producers, the Bus Compressor continues to be the most relied upon processing tool for making mixes sound bigger and more complete, with drive and energy from adding that legendary SSL glue and punch. THE BUS+ circuit design utilises high-grade components, including 2181 THAT VCAs for superior analogue performance, four modes of operation and 3 distinct compression colouration options which can be combined to perfectly suit the genre you’re working on. THE BUS+ also packs in sophisticated routing options and advanced processing tools: Dynamic Equaliser (D-EQ), Transient Expander and so much more… Innovation To complement the new feature set, we sought to bring improvements that would benefit recallability and technical performance. All of the pots on THE BUS+ are stepped and read by a microcontroller which translates the pots position into the required circuit configuration or electrical parameter. This innovative approach not only makes recall significantly easier, it also means THE BUS+ is not subject to pot tolerances – prefect for precision processing applications like mastering. Dynamic Analogue Equaliser: D-EQ THE BUS+ incorporates a host of advanced processing tools including the new Dynamic Analogue Equaliser (D-EQ). The D-EQ is a powerful 2-band Dynamic EQ that can be placed before or after The Bus Compressor. Many engineers are familiar with Dynamic EQ plug-ins inside the DAW but analogue Dynamic EQs are few and far between. A Dynamic EQ is a more 'intelligent' form of EQ that changes the gain of an EQ band proportionally in response to the signal level once above a set threshold. It allows you to modify the contrast between background material (under threshold) and forward material (above threshold).

TUBE-TECH CL 1B ...

51.870,-

CL 1B er en rørbasert en kanals kompressor beregnet for alle typer studioopptak: Fra delikat vokal, til krevende instrumenterer som gitar, trommer, etc. Gjennom årenes løp, og på tusenvis av spor, har CL 1B bevist sin verdi ved å tilføre de mest krevende opptak den ettersøkte varme ”vintage” lyden. CL 1B - Opto Compressor I CL 1B sitter det ett gain reduksjons element rett etter inngangs transformatoren. Denne er kontrollert via "sidechain" orsterkeren, som også inneholder de to tidskontroll kretsene - en for satte og en for variable "Attac/Release" verdier. De to tidskontroll kretsene kan enten bli brukt hver for seg, eller kombinert (Fixed / Fix./Man / Manual) Kretsen består av semiconductor OP-forsterkere for full kontroll. Les mer om TUBE-TECH CL 1B på Tube-Tech's produktsider CL1B Selected User Statements Josh Gudwin - Engineer and Mixer currently residing in Los Angeles. Kuk Harrell - 4 time Grammy Award Winner. Vocal Producer, Songwriter & Engineer. "For the last 2 years, ( 2012-2011 ) I've been working with 4 time Grammy Award Winner Kuk Harrell who is today's most in demand Vocal Producer. Together, we've cut hundreds of records with a who's who list of clients to include: Justin Bieber, Rihanna, Mary J Blige, Jennifer Lopez, Jessica Simpson & Lionel Richie. Out of All these Sessions, I can say with truth and honesty, that each and every one of these vocals passed thru a Cl1B before reaching Pro Tools. I find that the CL1B has the most flexibility, transparency and functionality out of any compressor on the market. Wrapping up last year (2010), Kuk and I flew out to Stratford, Canada to wrap up the loose ends on Justin''s ''Never Say Never'' blockbuster. Along with a 1081& my Rosetta 200, I also lugged along a CL1B! I never record vocals without it!! I wanted you to be aware of my love for the CL1B and to share that it''s being used on today's Top40 artists on a daily basis! We are currently working with Justin Bieber & Rihanna. You better believe those vocals are passing through your compressor!" Jess Jackson Producer / Songwriter From London UK and in L.A. for 7 years now. "Just wanted to let you know that I ONLY use the CL1B as my compressor when tracking vocals. I am just wrapping up his album at the moment which consists of 14 tracks in which feature Lil Wayne, The Game, Mario, Lloyd, Drake, Snoop Dogg, Pharrell, J-Cole, Chris Brown etc. The only compressor I have used is the CL1B for tracking all of the above artists. I love the sound in which the CL1B gives me and is a perfect match for that vocal chain. I also just received a platinum plaque for the songs i produced on U.K.'s Peter Andre "Revelation" album. I recorded the entire album at Will Smiths Boom Boom Room studio's and again only used the CL1B for every song on the record. I'm a massive fan of your work"

TUBE-TECH CL 2A Dual ...

60.650,-

Tube-Tech CL2A er en rørbasert opto-kompressor med to uavhengige kanaler som kan linkes. CL 2A funker veldig bra på alle kilder, og er kjent for å være en problemløser der man trenger diskret komprimering. Bruk den på keyboards, gitarer, vokal eller på miksbussen - du vil alltid få musikalsk, smooth og transparent lyd. Teknikere setter stor pris på den fordi den klarer å holde instrumenter på riktig plass i miksen, samtidig som de beholder en naturlig dynamikk. CL 2A - Rørbasert, to kanals optisk kompressor og limiter CL 2A er en dobbel kompressor med to uavhengige optiske kompressorer. Det optiske "gain" reduksjons elementet, er plassert etter inngangstransformatoren og er etterfulgt av en rør-basert utgangsforsterker med + 10 db gain. En velger med tre posisjoner (Link1, Off, Link 2) brukes når man vil bruke to separate kompressorer stereo, eller koble sammen flere kompressorer. De to link "bussene" er identiske. Både inngang og utgang er balansert og har fult flytende transformatorer med en statisk skjerm. Strømforsyningen og "sidechain" kretsen er basert på en solid state krets. Les mer om CL 2A på Tube-Tech's hjemmesider CL 2A - User statement David Morgan FOH mixer: Steely Dan, Simon & Garfunkel, Lionel Ritchie, Whitney Houston, James Taylor, etc...: "My new love is the Tube-Tech CL-2A for vocals, I got introduced to it years ago when I saw Clive Franks using it on Elton John. Elton''s voice sounded wonderful, and I was looking at the compressor hitting about four or five dB of compression and couldn''t hear it at all. What it added to a vocal mic was exactly what we want in live music, so I tried it on Lionel Richie. I''ve been using it on lead vocals ever since."

TUBE-TECH HLT 2A Equalizer ...

50.675,-

The TUBE-TECH HLT 2A is an all-new kind of Equalizer, combining High and Low shelving Eq plus Hi and Low cut filters with an innovative T filter “tilt” midrange Eq. It’s the first time this combination of filters has been designed in the analog domain. The midrange T-Filter “tilts” the entire spectrum around a selectable midrange frequency point. Frequencies above that point increase (or decrease) while frequencies below that point decrease (or increase). This unique topology, provides a powerful and uniquely efficient way to get beautiful-sounding overall equalization. As such, the Tube-Tech HLT-2A is destined to become a “go-to” equalizer in high-end mastering houses,smaller project studios, and everything in between. Like all Tube-Tech processors, the stereo HLT-2A possesses a warmth and character that breathes life into a track and gives it an organic body that somehow manages to occupy real physical space inside a stereo mix. However, the functionality of the HLT-2A is unique in the Tube-Tech line – and indeed in the world of analog processing. Users will find that the HLT-2A generates quick, intuitive results that can range from mild to extreme, and it sounds great on individual tracks or strapped across the drum bus or the mix bus. HLT 2A is a stereo unit, featuring active low and high shelving EQ and a passive T-filter plus passive Hi/Lo cut filters. The shelving EQ’s are designed around a high gain tube amplifier, and the T- filter and Hi/Lo filters are passive filters placed after the active shelving EQ and before the output amplifier. All sections are supplied with a bypass switch. The HLT2A furthermore features an overall bypass switch. The low and high cut filters are also passive with a slope of 6dB/octave. A bypass switches the whole filter section out of the amplifier circuit, keeping the output stage in the circuit. The T-filter is like a seesaw. When the low end goes up, the high end goes down and visa versa. When the potentiometer is turned clockwise, the high frequencies are boosted and the low frequencies are attenuated. When the potentiometer is turned counter clockwise, the low frequencies are boosted and the high frequencies are attenuated. The unit is all tube based except for the power supply, input and output have fully floating transformers and all DC voltages are stabilized, except the anode voltage for the output stage. Tube based push-pull amplifier Freq. resp. @ -3 dB: 5 Hz – 55 kHz Low noise: < -80 dBU @ 0 dB gain CMRR: > 60 dB @ 10 kHz All-tube active/passive EQ FILTERS: Low cut: 18, 25, 40, 60, 85 Hz, 6db/octave Low shelving: 18, 37, 80, 180, 370, 800 Hz. Gain: +/‑12dB High shelving: 1, 2, 5, 10, 15, 22 kHz Gain: +/‑12dB T.-filter: 0,5, 1, 2kHz. Gain: +4/-7 dB High cut: 12, 15, 18, 20, 25 kHz, 6db/octave Tracking between channels: +/-0,3 dB Input impedance: >10 kΩ Output impedance: < 60Ω Conductive plastic potentiometers In- and output are transformer balanced and fully floating

TUBE-TECH LCA 2B Stereo ...

69.427,-

TUBE-TECH LCA 2 B Rør basert to kanals enhet, med uavhengig kompressor og limiter per kanal. LCA 2 B er en to kanals enhet, med en uavhengig kompressor og limiter per kanal. Den helt rør basert, (bortsett fra strømforsyningen og "side-chain" kretsen). Lyd signalet blir hentet etter VCA og sendt til "side-chain" kretsen. Kontroll signalet fra kompressoren og limiteren slåes sammen og sendes til "link" bryteren og videre til kontroll forsterkeren, som mater VCA. De to-veis link bussene brukes gjennom to 1/4" jack kontakter på baksiden. Kanalene kan linkes sammen for stereo apllikasjon, og også linkes sammen med andre LCA 2B gjennom de to link bussene med en standard stereo jack/jack kabel. Kompressoren har 6 attack/release innstillinger samt mulighet for manuell kontroll. Limiterens attac/release er faste. LED displayene er "matet" fra kontroll forsterkeren. Limiter LED er "matet" fra Limiter bufferet. Lyd gangen er hel-symetrisk fra inngang til utgang. Innganger og utganger har fullt flytende omformere. Alle DC spenningene er stabilisert, bortsett fra anode spenningen over utgangs trinnet. Les mer om LCA 2 B på Tube-Tech's produktsider)

TUBE-TECH ME 1B Midrange ...

43.093,-

The TUBE-TECH ME 1B is a passive, all-tube midrange EQ based on the legendary Pultech MEQ5, featuring two boost- and one dip section. The bandwidth of the ME1B sections is designed broader than in the MEQ5 for ultra-smooth and musical equalization, perfect for vocals, instruments, speech and all other midrange sources. Mid frequencies have always been very important, when EQ’ing instruments and vocals to make a mix come together. TUBE-TECH ME 1B can shape the midrange frequencies in that very pleasant way, only a passive equalizer is capable of. Even extreme midrange boosts still sound open and warm without the slightest trace of harshness. ME 1B is the perfect partner for the PE1C program eq and works very well as a bus EQ for many different uses. The famous Motown sound? The ME1B is an important tool tool for adding that nice midrange to your recordings. The TUBE-TECH ME 1B is a passive tube based midrange equalizer developed tomatch and surpass the demands of even the most discerning studio engineers. The TUBE-TECH ME 1B Midrange Equalizer contains a low frequency boost section for peaking, a mid frequency attenuation for dipping as well as a high frequency boost section for peaking. The filter section is of the the passive type followed by a tube based push-pull amplifier to restore the gain. Input and output are balanced as well as fully floating. Input and output transformers come with a static screen between the primary and secondary wirings. Tube based push-pull amplifier Frequency response @ -3 dB: 5 Hz to 40 kHz Low Noise: < -80 dBU @ 0 dB gain CMRR: > 60 dB @ 10 kHz 5 LF peaks: 0.2, 0.3, 0.5, 0.7, and 1 kHz (0 to +10 dB) 11 MF dips: 0.2, 0.3, 0.5, 0.7, 1, 1.5, 2, 3, 4, 5 and 7 kHz (0 to -10 dB) 5 HF peaks: 1.5, 2, 3, 4, 5 kHz (0 to +8 dB) Input impedance: 600Ω No insertion loss Conductive plastic potentiometers In- and output are transformer balanced and fully floating

TUBE-TECH SMC 2B Stereo ...

69.027,-

Tube-Tech SMC 2B er den ultimate, rørbaserte multibåndkompressoren til studio og live. Tre uavhenginge bånd med valgbar delefrekvens, optisk rørbasert kompresjon og individuelle threshold, attack, release, ratio og gain gir deg fleksibel og nøyaktig kompresjon med Tube-Techs legendariske lydkvalitet SMC 2B Stereo Multiband Compressor Kort om SMC 2B Tre uavhenginge rørbaserte optiske stereokompressorer Justerbar delefrekvens mellom alle bånd Individuell threshold, attack, release, ratio og gain per bånd Flat summering av alle band når kompressoren ikke jobber(+/- 0,25dB) Global bypass, output master og balansekontroll Meget godt egnet som sluttkompressor på stereobuss/ L+R eller gruppekompresjon av trommer, instrumenter og vokal Les mer om SMC 2B på Tube-Tech's produktsider SMC2B User Statements Al Schmitt, Engineer, mixer, Producer. Multi Grammy Winner. Los Angeles USA (Dianna Crall, Paul McCartney,Natalie Cole, Shelby Lynne, Ray Charles, Chris Botti, Babara Streisand, Steely Dan,Toto.) "I love my Tube Tech SMC2B and use it all the time! Main use is for the mix bus compression." Joe Chiccarelli Producer/ mix Engineer, Los Angeles US. Multi Grammy Winner. ".......I use the Tubetech SMC2B on the mix buss on many occasions. I''ve used it on tracks for Rufus Wainright, Beck ,The All American Rejects, The Offspring. I love being able to have separate compression control over three bands. Often many stereo buss compressors will squish and darken the midrange of a track. In a rock track this takes the attack and impact out of the guitars and drums . Having the separate control over all parameters I can set my attack time to be the mildest on the electric guitar range. Being able to control the frequency range in the low end works well on tracks that are very dance oriented. I can adjust the crossover point and make sure the low end never gets to overcompressed and soft...... " MUSE State of the art Analog Live sound Muse 2nd Law World Tour 2012/13 Here's Marc Carolan's comment on the SMC after using it for the rest of the tour: "Loving the SMC2B now. I'm using the high frequency path to mimic the harmonic distortion we used to get with VDosc, making the high end more pleasing especially over the length of the show. The mid just tickles, a half dB here and there. Still playing with the low end."

TUBE-TECH SMC 2BM Stereo ...

93.765,-

TUBE-TECH SMC 2BM Stereo Multiband Compressor SMC 2BM Stereo Multiband Compressor er en rørbasert kompressor som tilfører din miks den varme ”vintage” lyden. Valgbare delefrekvenser sikrer deg presis kontroll over 3 bånd med optisk kompresjon. Uavhengig Threshold, Ratio, Attack, Release og Gain parametere på hvert bånd gjør SMC 2BM både fleksibel og nøyaktig. Gain kontrollen har bryter med 12 posisjoner i 1dB/step. Threshold, Ratio, Attack og Release kontrollene har potensiometre med 31 posisjoner SMC 2B har 3 uavhengige optiske stereo kompressorer. Signalet deles i tre områder (Low, Mid & High) med 6 dB/oktav delefiltre med variable frekvenser: 60-1200 Hz for Low/Mid og 1,2-6 kHz for Mid/high. Designet på delefilter kretsene optimerer summeringen av alle tre områdene, og resulterer i flat frekvensrespons (+/- 0,25 dB) når gain kontrollene settes til samme nivå. Alle kompressorene har Threshold, Ratio, Attack, Release og Gain i tillegg til et display som viser nivåreduksjon. Hovednivå settes med Output Gain og Balance kontroller. Les mer om SMC 2BM på Tube-Tech's produktsider

Universal Audio 4-710d ...

32.995,-

Four Channels of Tone-Blending “Twin-Finity” Preamps and 1176-Style Compression with Built-In A/D Converters. The Universal Audio 4-710d 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. At 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. Four TEC Award-winning 710 Twin-Finity™ microphone/line preamps, each featuring: Phase-aligned tone-blending of tube and solid state circuits, creamy to crunchy Newly designed 1176-style compression circuit per preamp channel Backed by 1-Year limited warranty The 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. Klikk her for ytterligere informasjon.

Universal Audio 6176 Vintage ...

41.295,-

Det klassiske Universal Audio lyden framheves virkelig i denne enheten. Krystallklar diskant, ren bass i et varmt varmt rør-lydbilde. 6176 fremhever til og med din mikrofons karakter og plasserer sangen direkte i din miks. Om du lurer på hvordan de fleste studios får sangen til å virkelig å høres er svaret enkelt: 6176. 6176 Mic preamp er basert på Bill Putnams legendariske 610 konsoll. All Tube! 6176 Kompressor 1176LN behøver egentlig ingen forklaring. Det er ikke uten grunn at det nesten finnes en i alle større studioer! "As soon as we started with the 6176 there were smiles all around, so it stayed on the session. Thanks UA!" 6176 Vintage Channel Strip A Classic Tube Microphone Preamp and 1176-Style Compressor in a Single Unit. The 6176 Vintage Channel Strip combines the alluring, all-tube sounds of the legendary Bill Putnam-designed 610 microphone preamp, with the signature FET compression of our 1176LN, to create the ultimate recording channel strip. The warm, smooth tones of this mic preamp design employed to record everyone from Frank Sinatra to Van Halen, and the unique characteristics of the compressor, are two major reasons why the 6176 is found in studios around the world. All-tube mic preamp section derived from legendary Bill Putnam-designed 610 modular console Signature 1176LN Class A FET compressor section, as heard on countless hit records for more than 30 years "Split" or "Join" switch allows separate or series operation of the preamp and compressor High and Low frequency shelving EQ Variable impedance Input, Gain, and Output levels Mic, balanced Line, and Hi-Z inputs Ultra-quiet operation Stereo interconnection via 1176-SA Hand-built in USA

Universal Audio 710 ...

14.555,-

Den prisbelønte preampen 710 er rør og soildstate, og alt i mellom! Mange har spurt etter en micpre som kan ta opp alle transienter,men enda beholde varmen. Nå er det endelig mulig! Med 710 Twin Finity velger du selv om du vil ha varmen fra røret, få med alle transienter med solidstate, eller en miks av begge! "The 710 was brilliant on kick, snare and vocals, giving a wide palette of tonal options ... It's an expert tone-blender..." 100% Tube to 100% Solid State ù a Variable Tone Blending Mic Preamp & , DI The award-winning 710 Twin-Finity is a radically new UA mic preamp design that combines both the classic retro warmth of tubes with the transient bite of solid-state, all in a 2U, half-rack unit. The 710 was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps. Tone blending is continually variable between 100% tube and 100% solid-state, offering a practically infinite range of unique preamp tones, plus the ability to easily dial-in your own signature sound. There are lots of sensibly priced solid-state and tube preamplifiers out there, but the 710 is the only one that offers the best of both worlds as well as everything in-between all in one box, and within reach of any serious project studios budget. - Twin-Finity tone-blending mic/line preamp with Hi-Z instrument DI capabilities - Dual-path 310 volt Class-A tube and transimpedance solid-state preamp - Phase-aligned Tone-Blending of tube and solid state sounds to suit a variety of sources - Dual Gain Stages: wire-with-gain to creamy and crunchy - Discrete JFET DI with 2.2M ohm ultra Hi-Z impedance - Monolithic balanced output stage - Universal Iinternal power supply - Heavy-duty metal construction

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