AKG C 12 A

PIECE: 2

The C12A is the descendant of the famous C12, but the only thing it has in common with their forebear is the wonderful CK12 brass ring capsule.

The C12A was released in 1962, just ahead of the C12's demise. It was the first step away from the large cylindrical body of the C12, into the trapezoidal shape that is still iconic of AKG 414 series microphones to this day.

AKG C 24

PIECE: 1

"The C-24 was specially designed for intensity stereo recording techniques in the XY or MS mode. Two twin-diaphragm condenser microphone capsules are mounted within the microphone body, with a spacing of only 1 1/2", making any difference in time between the two outputs negligible.

The upper microphone system may be rotated 180 degrees to provide any offset angle desired. Nine different directional patterns can be remotely selected for each of the two twin-diaphragm capsules.

These patterns are identical as to their phase relationship and sensitivity and maintain their polar characteristics independent of frequency. The patterns are a) omni directional, b) cardioid and c) figure-eight, plus 6 intermediary positions.

AKG C 414 B

PIECE: 6

This large-diaphragm condenser microphone has been designed on the basis of feedback from sound engineers who have used the C 12A, C 12B. You can find this microphones in recording studios all around the world for years.

Using advanced, reliable components that provide more functions in the same space, the C 414B-XLS meets the highest professional standards and will withstand the typical tough handling in the recording studio for many years.

AKG C 422

PIECE: 1

A  large diaphragm stereo condenser microphone with advanced solid-state electronic for all professional studio purposes. The microphone head is divided into an upper and lower half.

The upper part can be turned by 270 degrees, while the lower one is stationary to suit different stereo base angles. Each of the two halves contains a large double diaphragm condenser capsule CK 12.

AKG C 451 B

PIECE: 2

The AKG C451 B is a small-diaphragm condenser microphone with the identical acoustical behavior of its predecessor, the legendary C451 EB + CK1 capsule, which was a bestseller right from the start in 1969. With its airy sound, high overload limit and improved engineering details, the C451 B continues the success story of this legend.

The roadworthy design around the handcrafted capsule and the low-noise preamp electronics ensure impressive results even under very harsh conditions.

AKG D 112

PIECE: 1

In 1986, AKG introduced the D112, a more economical design that incorporated a 4kHz presence peak, tailored towards the greater level of attack that became prevalent in kick-drum sounds around that time.

AKG D 12

PIECE: 1

AKG starts designing the world's first high qualify cardioid microphone, the D 12 with its patented "mass-loaded tube". The D12 was released in 1953, and was the world's first cardioid-pattern dynamic microphone.

The D12, and its successor the D12E, are arguably the best-known early dynamics dedicated to kick drum and other bass instruments.

AKG D 20

PIECE: 1

AKG starts designing the world's first high qualify cardioid microphone, the D 12 with its patented "mass-loaded tube". Variations on the D12 theme include the D20, with a different motor and a bass roll-off filter. The D20 was a standard kick drum mic for Ringo's kit at Abbey Road.

Coles 4038

PIECE: 2

The Coles 4038 is a ribbon microphone produced by Coles Electroacoustics. The microphone was designed and patented by the BBC in the 1950s and was originally known as the STC 4038.In recording environments, the 4038 is often used as drum overheads and on brass instruments.

The microphone became a favourite of British recording engineers in the 1950s and 60s, but did not receive widespread use in the United States. The microphone was described as recording sounds "bigger than life" – such as drums or amplified guitars – some Beatles and Led Zeppelin recordings featured 4038s as overhead microphones on the drum kit.

Microtech Gefell CMV 563 matched pair

PIECE: 2

The handmade Gefell CMV 563 / M7S It has the typical warm, full-bodied sound of valve microphones that are preferred by vocalists and soloists. Crafted in Gefell, Germany, where the original CMV 563 tube microphone was born in 1956.

There, the small, dedicated team has revived one of history's most enduring designs and bridged the decades-long gap by ensuring today's capsules are interchangeable with yesterday's.

Microtech Gefell M 930

PIECE: 2

The Gefell M930 is a compact, large diaphragm microphone with an optically isolated capsule amplifier for low self-noise & excellent dynamic handling.

The compact design, makes placement easy in the most demanding applications. Exceptionally low self-noise and extreme dynamic range make the M930 perfect for high sample-rate digital recording. Ideal for voice, instrument and percussion.

Neumann CMV 563

PIECE: 2

The CMV 563 is the only real successor to the CMV 3. CMV stands for 'condensator mikrofon verstarker', i.e. 'condenser microphone amplifier’. The Kondensator-Mikrofon CMV 563 is a tube condenser bottle microphone manufactured by the division of the Georg Neumann company in Gefell, East Germany, which has since been renamed Microtech Gefell. The mic was made from 1956-1971.

Neumann CMV 563 SM8 S

PIECE: 2

The handmade Gefell CMV 563 / M8S - Stereo capsule. It has the typical warm, full-bodied sound of valve microphones that are preferred by vocalists and soloists. Crafted in Gefell, Germany, where the original CMV 563 tube microphone was born in 1956.

There, the small, dedicated team has revived one of history's most enduring designs and bridged the decades-long gap by ensuring today's capsules are interchangeable with yesterday's.

Neumann KM 184 black

PIECE: 2

The KM 184 is a transformerless FET pencil condenser mic. Part of Neumann’s “Series 180” mics, it has a cardioid pickup pattern.The 184 replaced Neumann’s classic KM 184 in the product lineup.

The capsule in the KM 184 is a small diaphragm design with a backplate construction technique developed by the Neumann factory in the early 1960s.

Neumann KM 184 custom

PIECE: 1

The KM 184 as gooseneck microphone is a transformerless FET condenser mic. The capsule in the KM 184 is a small diaphragm design with a backplate construction technique developed by the Neumann factory in the early 1960s.

Neumann KM 184 silver

PIECE: 2

The KM 184 is a transformerless FET pencil condenser mic. Part of Neumann’s “Series 180” mics, it has a cardioid pickup pattern.The 184 replaced Neumann’s classic KM 184 in the product lineup.

The capsule in the KM 184 is a small diaphragm design with a backplate construction technique developed by the Neumann factory in the early 1960s.

Neumann KM 185 black

PIECE: 2

The KM 185 is a Cardioid pencil mic, built from around 1966 to 1990. The capsule has a fixed high-pass filter that rolls off at 4dB/octave below 500Hz. In a sense, the KM 185 is a KM 184 with a low rolloff.

The two mics’ polar patterns are identical, and very consistently Cardioid across the full audible spectrum.

Neumann KM 256 C matched pair

PIECE: 2

The Neumann KM microphones with nickel capsules and AC701k tubes are known for being the best ever made mics for acoustic guitars and other acoustic instruments that need to be captured with deep detail but still with rich warmth. Neumann startet the KM series in 1960.

Neumann KU 100

PIECE: 1

The Neumann KU 100 dummy head is a binaural stereo microphone. It resembles the human head and has two microphone capsules built into the ears.

When listening through high-quality headphones it gives the illusion of being right at the scene of the acoustic events. When using the KU 100 dummy head, the binaural stereo experience moves the listener into the scene of the original performance, in contrast to other space-related recording techniques, where the acoustic event is moved to the listener.

Neumann M 147

PIECE: 1

The Neumann M 147 is a tube microphone specially designed for 21st century recording chains. Its acoustic design is inspired by the legendary U 47, which revolutionized studio recording in the 1950s.

The M147 Tube is a fixed‑cardioid valve microphone which uses the same large dual‑diaphragm capsule design as found in the legendary U47 and M49 microphones — the classic M7.

Neumann M 149

PIECE: 1

The M 149 Tube is one of Neumann’s flagship tube condenser microphones, with a large-diaphragm capsule, 9-way pattern - including omni, wide cardioid, cardioid, hypercardioid, figure-8, and four intermediate positions and very low self-noise.

The M 149 is one of the most versatile microphones ever made. Capture the perfect amount of ambience in any situation with nine selectable polar patterns.

Neumann M 49

PIECE: 1

The Neumann M 49 is also known as: M49, B-M49. The mic was released in 1951. The M 49 was a multipattern large-diaphragm tube microphone with an important new innovation: the mic’s pickup pattern could be adjusted remotely, by a dial on the power supply.

Neumann M7 capsules

PIECE: 2

In 1932, Georg Neumann introduced a transducer with a cardioid polar pattern, the legendary M7 capsule.It is rightly considered a milestone in mic development, and at the same time, it established what is called the Neumann sound.

In close cooperation between Georg Neumann and his managing director Erich Kühnast, the M 7 continued to be developed even after the move to Gefell in 1943 due to the war.

In 1947, Georg Neumann transferred the management of the limited partnership Georg Neumann & Co. in Gefell to Erich Kühnast.In the following years, Gefell`s M 7 fabrication, a flagship product, reached enormous quantities.

Neumann U 67 matched pair

PIECE: 2

The Neumann U 67 is a multipattern large-diaphragm condenser microphone with a tube-and-transformer topology. It was introduced by Neumann in 1960 with the intention of replacing the U 47 in Neumann’s product line. The new microphone, originally christened the U 60 for the year of its development.

Neumann U 87

PIECE: 1

The Neumann U 87 is probably the best-known and most frequently used studio microphone the world over. Its smooth and refined sound is as iconic as its elegant exterior design.

The U 87 is the standard microphone for speech and vocals. The 'A' version of the U-87 was introduced in 1986, although the basic U-87 design dates to 1967.

Neumann U 87 Ai

PIECE: 1

The U 87 Ai is Neumann’s latest version of the classic large-diaphragm, tripolar FET condenser. The Neumann U 87 is probably the best-known and most frequently used studio microphone the world over.

Its smooth and refined sound is as iconic as its elegant exterior design. The U 87 is the standard microphone for speech and vocals. The mic offers three pickup patterns via a switch mounted below the headbasket. Cardioid, Omni, and Figure-8 patterns are supported.

Neumann U47 FET

PIECE: 2

The U 47 fet was first manufactured from 1972 to 1986. Since its original release, the Neumann U47 FET has become a legendary microphone that stands on its own from the U47.

The microphone came to fruition as Neumann put an end to production of the U47 in the mid-1960s. Working to develop the same microphone using transistors.

The final design of the U47 FET featured the original K47 capsule, but could better handle high sound pressure levels without affecting the resulting recording.

Neumann U89 i

PIECE: 1

Originally released in 1980, the U 89 i was designed as a smaller, lighter, modernized version of the world famous Neumann U 87.

Capable of handling much higher sound pressure levels, the U 89 i is ideal for recording hard-hitting drummers, roaring guitar amps and more.

Neumann UM 57

PIECE: 1

Introduced in 1957, the UM57 utilizes the famous M7 large-diaphragm capsule, with a PVC membrane, in conjunction with an EC92 triode tube.

Three polar patterns are selected via the power supply: omnidirectional, cardioid, and figure-of-eight. The UM57 is a great all-around microphone, especially sweet on woodwinds and vocals.

Neumann USM 69 i

PIECE: 1

The USM 69 is a stereo FET condenser, with two large-diaphragm capsules stacked atop one another.

Both capsules support five selectable polar patterns, enabling the microphone to produce numerous single-point stereo patterns, including X-Y, Blumlein and Mid-Side.The mic is based on the SM 69 fet, and uses identical capsules.

Royer R-121

PIECE: 1

The Royer R-121 is a passive ribbon microphone with an innovative offset ribbon placement that gives the two sides of the microphone distinct features and sound.

David Royer is one of an elite group of microphone designers who know that music and sound are inseparable from electronic design. Everything David designs comes from his deep, lifelong love of music.

Royer R-122 MK II

PIECE: 1

Bidirectional Active Ribbon Microphone. The R-122, the world’s first phantom powered, active ribbon™ microphone.

The R-122 Mk. II is a second-generation design of the venerable R-122 active ribbon mic. It shares the original mic’s ribbon geometry, transformer, and circuitry, but adds two switchable features: a high-pass filter, and a pad.

David Royer is one of an elite group of microphone designers who know that music and sound are inseparable from electronic design. Everything David designs comes from his deep, lifelong love of music.

Royer SF 12

Multi-Pattern Ribbon Stereo Microphone. The SF-12 contains two complete ribbon capsules, each aimed ±45° from center in a Blumlein configuration. The SF-12 was originally designed in 1987 by Bob Speiden, and owes its heritage to a stereo ribbon created by Bang & Olufsen.

Sennheiser MD 421

PIECE: 4

The Sennheiser MD 421 is a German cardioid dynamic microphone commonly used for speech on broadcast and for music at live concerts and in the recording studio.

At the end of the 1950s, Fritz Sennheiser commissioned the engineers Paul-Friedrich Warning and Johann-Friedrich Fischer to develop a new microphone. In 1960, the MD 421 was introduced with a directional polar pattern, advertised by the manufacturer as a studio microphone.

Sennheiser MKH 416

PIECE: 2

The MKH 416 is one of the most popular short shotgun microphones for film and ENG (electronic news gathering) applications. The MKH 416 is a short shotgun interference tube microphone.

Its excellent directivity and compact design, high consonant articulation and feedback rejection make the MKH 416 a superb all-round microphone.

Shure SM 57

PIECE: several

The SM-57 is a unidirectional dynamic mic that has been used in some respect on 75% of the recordings in your collection — from snare drum to vocals to guitar cabs to, well, everything.

It is known for sounding pretty good on everything, and more specifically for its “carefully contoured presence rise,” sometimes less charitably known as “midrange honk.” It is a utility mic, usable on just about any source in any context, and is probably the most popular microphone in history.

Siemens AKG C12

PIECE: 1

The C12 shares a capsule, tube, and amplifier-circuit similarities with the Telefunken Ela M 251E, which was commissioned by Telefunken and built by AKG. Short history about Siemens SM204/23. Basically it was made like special version for ORF (Austrian broadcast).

The C12 was discontinued in 1963, after a 10-year manufacturing run. Approximately 2500 C12 microphones were produced.

Sony C 800 G

PIECE: 1

Multi-Pattern Tube Condenser Microphone. Sony’s C800G capsule is based on the Neumann K67 design.
The Sony C800G is a high-end tube vocal microphone. The mic was made popular for pop and R&B production by users like Dr. Dre, Mariah Carey, R. Kelly, Kelly Clarkson and many others.

The real headline large-diaphragm condensers like the Neumann U 47, Telefunken ELA 251, AKG C12 and a few more of this ilk have usually been reserved for the superstar voices. The Sony C800G is a microphone that has rightfully earned its place in this echelon.

Telefunken ELA M 251

PIECE: 1

Designed and manufactured by AKG at the request of Telefunken, the ELA M 251 is a 3-pattern tube mic built around AKG’s famed CK12 capsule. AKG used Neumann’s U47 design as a starting point and combined it with the C12 capsule to create a bright-sounding (boost in the 10k range) microphone excellent on just about anything.

Telefunken had never manufactured microphones, but instead served as the distributor — and brand name — for mics made by Neumann and AKG. Notably, the early U 47 microphone was branded by Telefunken, despite having been designed and manufactured by Neumann.

Telefunken ELA M 260 matched pair

PIECE: 1

Since the early 1960s, the Telefunken ELA M 260 small-diaphragm tube condenser microphone has been one of the most widely acclaimed and highly sought-after recording microphones on the planet.

You'll be hard pressed to find an engineer who's used an ELA M 260 on any kind of acoustic instrument who didn't instantly fall in love with this mic, plus it sounds absolutely amazing on vocals. The original Ela M 260 was manufactured by AKG for Telefunken, and used a Telefunken AC701 tube.

Telefunken U 47

PIECE: 1

The Telefunken U 47 developed in the mid-to-late 1940’s, was the first switchable pattern condenser microphone. Telefunken distributed the microphone originally, with Telefunken’s logo badge on the front.

The original U 47 has become the most revered vocal microphone in history. According to Oliver Archut, a prototype U47 was displayed at the Berlin Radio Show (Berliner Funkausstellung) in 1947. Whether that was a functional microphone, or whether its capsule and circuit were similar to what was commercially released, is not known.

Voxorama U 49

PIECE: 1

The Vox-O-Rama U49 from Andreas Grosser is a very special tube microphone. Based on a K137 capsule made in Germany, largely linear - slight, consistent treble increase between 0.5 and 1dB - with actually no noise (approx. 8 dBa)

EMI Pathé Marconi

PIECE: 1

This is the historic 24 channel "large format console" from EMI / Pathe Marconi, designed & built for the studio of the same name.

Unique in its kind - unique in the world.

This more than special console comes out of the late 60´s.
Pathe Marconi is the name of the studio and Boulogne Billancourt the place, south west of Paris, after the Porte d'Auteuil near Parc des Princes and the Roland Garros tennis stadium.

Also the Beatles dropped in to Pathe Marconi Studios in January 1964…

EMI's West German imprint, Electrola Gesellschaft, had been attempting to convince Brian Epstein and George Martin that they could only sell Beatles records if they were in German.
The session had originally been scheduled to take place on 27 January 1964, but The Beatles had proved reluctant to attend. George Martin eventually persuaded them to fulfil the obligation, and so they entered the Pathé Marconi Studios in Paris to record new versions of their two biggest hits. They recorded new vocals for “She Loves You”,”’I Want to Hold Your Hand” and “Can’t Buy Me Love”

The Rolling Stones show up in the studio in 1982. At this time it was their second home. A kind of new Olympic studios for them.

NEVE 5300 SIDECAR

PIECE: 1

Neve Melbourn – Classic Neve 12 channel sidecar. These beautiful small discrete 12 channel desks were designed to accept the 33114 and/or 33115 mic pre/eq modules, great, smooth & punchy sounding Neve modules.

Class A/B rather than Class A (as in the legendary 80 series larger format desks), the 33114/5 have the same mic preamps as the 1081 and comprehensive three band eq, making them punchier than a 1073 and so ideal for drums, and more modern music with raunchier dynamics.

Although limited to two aux’s which doesn't much matter for recording, the Melbourn has inserts and direct outputs plus decent centre section facilities. All in all, an incredibly desirable, great-sounding little lady.

NEVE 8068 MK II CUSTOM

PIECE: 1

This is a pure beast! Two combined Neve 8068 32 channel consoles with additional added eight channels that are currently used as Reverb/FX returns with full eq section & Flying Faders for more precise control than regular FX return.

Neve 8068 custom – Classic 80 series 72 channel inline console (144 channels in mixdown) completely fitted with 31102 Pre/EQ modules, 16 busses & Martin Sound Flying Faders II+ automation system.

Quote from Vintage King about one half of this huge desk: “This beautiful Neve 8068 was owned by Bruce Hornsby and was recently decommissioned from his home studio where it resided for over a decade. It was purchased by Gerhard Buchbauer, the owner of Prime Studios in Austria, who has bought several other consoles from us including an EMI Abbey Road console and a 32 channel vintage Neve console. As with many other vintage consoles, this one has seen some wear and features a few changes since it was born in the Neve factory. The desk was modified to have an extra eight inputs and features a number of other modifications that our team chose to leave in place.”

These desks are considered by many as the quintessential classic Neve 80 series - the holy grail for tracking. They were used in the 70s and 80s and are still in use in premier studios around the world.

Universally considered to be one of, if not the best vintage Neve console for tracking and mixing. The 8068 is renowned for its remarkable sound quality: rich and full-bodied thanks to the “big iron” transformers; clear and “airy” highs, courtesy of its discrete Class-A design and linear wide bandwidth, all while maintaining an audiophile quality throughout the spectrum. This unbeatable sonic combination made the 8068 capable of handling a wide spectrum of acoustic and electric musical genres, including rock, jazz, and classical.

In the early years, the company moved its operation to the Cambridge area to the Priesthaus facility in Little Shelford in 1964.  From this iconic building, Neve® designed and built the world’s first commercial transistor-based mixing console for Philips Recording Studio in London. The now well established Neve company had produced several custom consoles for distinguished studio clients.

Building on the early success, Neve moved into a purpose-built factory in Melbourn, near Cambridge, entering the broadcast field in 1968 by producing the diode-bridge 2253 limiter for ABC Weekend Television in the UK – the famous 2254 compressor/limiter was an evolution of the 2253, designed for music consoles. This innovation was followed by the world’s first solid-state switching matrix the following year, with Neve making its products available in North America for the first time.

TAB Telefunken Console

PIECE: 1

This 12 channel desk has been build for the “Deutsche Grammophon” & used for classical music recordings.

It includes V72, V76s, U70 tube preamp modules (even one V72 for the talkback microphone…), U71 level meters, Eckmiller W86 high/low pass filters & the Eckmiller PF 5/8h filters.
It was used as a mobile recording console by the “Deutsche Grammophon”.

This mixer consists of 5 individual pretty heavy boxes: the center section, two boxes with build in preamps & meters and two boxes for wiring & microphones.

Two of these boxes had to be placed one on top of the other and the resulting two “packages” then had to be connected with metal rods.

This created a mobile table, in the middle of which the central unit was placed. The individual “boxes” were then quickly connected to the main section using Tuchel cables and the mobile tube mixer was ready for use.

Direct siblings or at least blood relatives of this console are the well-known REDD consoles.

A slightly modified version of the V72 modules, the V72S, were found in the famous REDD.17 and REDD.37 consoles as standard channel amplifiers. The V72S isn't much different from the standard V72. It is modified for EMI's 200 Ω standard and provides 6 dB higher output gain. The original V72 wasn't supposed to be replaced because the quality wasn't good, EMI simply wanted a cheaper replacement because the original amplifiers were so expensive.

UNIVERSAL AUDIO CUSTOM

PIECE: 1

An unbelievable sounding custom console.

10 channels, with historic Universal Audio 610 mic preamps, Universal Audio 508 (A & A.V.) inductor 3 band Eq’s,  3 aux/echos, 3 busses, direct out per channel and a left - center - right master section - everything fully tube driven.
This beauty is specially built for use at Prime Studio with originally parts out of the Bill Putnam era - late 1950´s-1960´s.

Unlike today, in 1960 there were very few recording studios and they were mostly owned by the major record companies. Almost all recording consoles of the day were custom built using lever key switches, transformers and vacuum tube amplifiers & thats exactly what was achieved and implemented for Prime Studio with this console.

Completely custom made with originally parts out of the Bill Putnam era.

While the 610 was never sold as a complete console, the 610 modules were used as a basis for many consoles used at Bill's studios.

The UA 508 Envelopmental Equalizer is another of UA's earlier commercially available EQs. It is a no-loss, high- and low-frequency passive EQ designed to be used with modular amps like the 1008 tube amplifier or the 1108 solid-state amplifier.

Altec 438 C

The Vintage Altec 438C Variable Mu Tube Compressor is the upgraded version of the Altec 436C. The 438C has the addition of a transformer-input microphone preamp (with 90dB of gain!). This compressor is most notable for its use by the Beatles.

AMS 15-80 S

PIECE: 1

All time classic vintage true stereo 2 in / 2 out delay. AMS began producing their DMX delay and RMX reverbs in 1978, and continued manufacturing until about 1990.

1978’s AMS DMX 15-80 became the world’s first microprocessor-controlled digital delay.
While technically a delay unit, shorter times could produce reverb and as a side-effect of the digital tech on board the upgraded 15-80S model added something previously unheard before – pitch shifting.

AMS S-DMX

PIECE: 1

The S-DMX was the very last of the 15-80 series of delays, so benefits from all the final factory upgrades to hardware and software.

These units have (and still are) been used on countless hit records. They really need no introduction. There is no alternative If you want this sound, plug-ins and even the new hardware effects just don't come close to the sound of these AMS units.

Avalon Design AD 2022

PIECE: 1

The AD2022 is Avalon's fourth generation of fully discrete, symmetrical Pure Class A microphone preamplifiers.

The dual mono AD2022 includes the original sonic capabilities and transparency of the M2, M22 and M5 preamplifiers plus several additional features, including selectable microphone source loading for optimized cable/mic matching, improved high-voltage Class A regulated power supplies, two high Z instrument inputs, variable-passive high pass filter, quality/silver wiring and doubled plated circuit boards for superior low level signal transfer.

Avalon Design AD 2044

PIECE: 1

The AD2044 features 100% discrete, pure class A signal amplifier configured with high speed current monitored optical control elements.

These "invisible" opto elements enable the AD2044 to deliver totally transparent, low noise gain reduction within the minimalist signal path design. No VCAs are incorporated.

Variable attack and release controls plus side chain access, provide unlimited creative control from soft compression to hard limiting.

Avalon Design AD 2055

PIECE: 1

This is a truly gorgeous piece of equipment! What sets it apart from other EQ´s is the design of its circuitry, which delivers excellent transient response and incredibly low noise even with the gain up all the way.

Balanced DC inputs and an incredible bandwidth from 1 Hz to 500 kHz (yes, that's correct-slightly out of our range of hearing) contribute to this unit's open, airy sound.

Avalon Design U5

PIECE: 1

Since its introduction in 1995, the Avalon U5 quickly became the go-to active DI for bass among studio professionals and top-shelf musicians.

The U5 high-voltage DI-preamp combines a unique passive tone selector with a variable gain preamp and filter.

The high input impedance accepts a wide variety of signal levels and instruments from acoustic guitars to high-output active bass guitars and keyboards.

The U5 direct box is loaded with sonic character and user features professionals demand.

Avalon Design VT 747

PIECE: 1

The stereo EQ on this unit is stunning! The air band is especially sweet. What sets this unit apart is the ability to switch between solid state and a tube signal path. Endless colours for any mix.

The Avalon VT-747SP combines a creative stereo tube-discrete Class A spectral-opto-compressor with a musical six band program equalizer.

Ideal for high performance DAW input signal conditioning, stereo buss compression-EQ, stereo keyboards and analog mastering applications.

Bel Delay BD-80

PIECE: 1

The BD80 was the first of BEL’s digital delay units; the Milton Keynes-based company was formed in 1975 by a team of engineers, designing and manufacturing analogue mixing consoles and effects processors. With the advent of new digital technology, two of the company’s engineers, Doug Russell and Mick Barnard, began designing their first sampling digital delay units in 1983.

The following year, the BEL BD80 appeared.
One of the BD80’s best features is the oscillator circuit that, when engaged, sweeps the delay time up and down.

By adjusting the Speed and Depth controls, superb flanged and chorused sounds can be created, as well as a good simulation of the Artificial Double Tracking (ADT) tape effect, invented by EMI Studios’ chief technical engineer Ken Townsend in 1966.

Demeter Amplification Real Reverb D

PIECE: 1

The Demeter RV-1D Real Reverb employs innovative new circuit technology with two Accutronics, classic, full-size, 6 spring reverb tanks.

The result is all the great sound of analog reverb without the problems usually associated with them. The unit features two channels, each with its own reverb tank.

Echoplex

PIECE: 1

The Echoplex is a tape delay effect, first made in 1959. Designed by Mike Battle, the Echoplex set a standard for the effect in the 1960s—it is still regarded as "the standard by which everything else is measured.”

It was used by some of the most notable guitar players of the era; original Echoplexes are highly sought after.

Tape echoes work by recording sound on a magnetic tape, which is then played back; the tape speed or distance between playback heads determine the delay, while a feedback variable, where the delayed sound is delayed again, allows for a repetitive effect.

The predecessor of the Echoplex was a tape echo designed by Ray Butts in the 1950s, who built it into a guitar amplifier called the EchoSonic.

EMT 250 Digital Reverb & FX

PIECE: 1

In 1976, EMT teamed up with American electronics company Dynatron to create the EMT 250 Electronic Reverberator Unit - and the first "practical" digital reverb was born.

It was a floor standing unit, and looked like equipment from a seventies sci-fi movie set (shades of things to come with Star Wars?).

The feature set was impressive, with pre-delay controls and high and low frequency decay times. But the 250 was more than a reverb; it was the really first multi-effects unit, that us youngsters can so easily taken for granted these days.

Modulation effects like chorus and phase were available, as well as echo and delay. The controls were simple, large lollipop-shaped levers and a few pushbuttons. There were only 250 EMT 250's made…

EMT 252 S Digital Reverb

PIECE: 1

In 1985, EMT released the 252 Digital Reverberation System, a rack-mounted unit with a built-in remote control.

The EMT 252 came equipped with two reverb programs: the original EMT 252 reverb program, which excels at short decay settings, and the EMT 252 linear reverb program, which sounds more natural at longer decays.

Additionally, the EMT 252 offers chorusing, delay, echo loops, doppler reverb, and non-linear reverb programs.

Eventide DSP 4500

PIECE: 1

The follow up of the H3000 of the Ultra‑Harmoniser has been badged as the DSP4500 (1998) and incorporates the 87‑second internal sampler card as standard, plus over 1000 preset effects.

This mind‑blowing collection includes every effect already available across all the other 4000‑series machines, plus 225 brand new effects from guru Scott Gilfix under the title 'Alchemy 101'.

Eventide was founded by recording engineer Stephen Katz, inventor Richard Factor, and businessman/patent attorney Orville Greene. The business was founded in the basement of the Sound Exchange, a recording studio located at 265 West 54th Street in New York City and owned by Greene.

Eventide's 4000 series of digital signal processors redefined the state of the art when they were launched many years ago, following in the footsteps of the fantastically popular H3000 range, and continuing to build on the foundations laid by the original classic H910 and H949 pitch‑shifters.

Eventide H 3000

PIECE: 1

The H3000 Ultra-Harmonizer (1987) introduced an entirely new range of features and effects to the Eventide Harmonizer line.

With 11 effects algorithms and 100 presets, the H3000 was a truly intelligent pitch-changer and a programmable multi-effects unit with full stereo pitch-shifting, digital reverb, delays, modulation, and MIDI.

It is known by many as the “holy grail” of multi-effects units. It also quickly became a go-to for guitarists, both in the studio and in their live racks, shaping the classic guitar sounds of artists like Van Halen.

Eventide was founded by recording engineer Stephen Katz, inventor Richard Factor, and businessman/patent attorney Orville Greene.

The business was founded in the basement of the Sound Exchange, a recording studio located at 265 West 54th Street in New York City and owned by Greene.

Fairchild 663

PIECE: 1

Not the 670, but a really nice sounding little helper.

The text of an original Fairchild advertising placement out of the 60´s:

“COMPACT COMPRESSOR - Now you can have a compressor for every mike channel with this miniature low cost Fairchild Compact Compressor... no larger than a slide type attenuator (actual size 12x7×4½ inches).

This Fairchild Model 663 Compact Compressor will provide. up to 20 db of compression with no increase in distortion. And the attack time of 40 milli- seconds with a variable threshold and variable release time of .3 to 7 seconds offers complete compressor flexibility and performance.

The Fairchild 663 Compact Compressor can be easily integrated into your present console to provide the ultimate answer to all level control problems.”

FAIRCHILD 670

PIECE: 1

The FAIRCHILD MODEL 670 incorporates two independent limiters in one chassis, which can limit either two independent signals, such as the left and right channels of a stereo signal, or the vertical and lateral components of the same.

The latter is accomplished by first bringing the two stereo channels through a matrixing network, dividing them into their vertical and lateral components, limiting them independently, and recombining them through a second matrixing network into left and right channels.

Each half of the MODEL 670 uses only a single push-pull stage of audio amplification and an extremely high control voltage, with the result that the Automatic Gain-Controlled Amplifier never produces any audible or observable thumps.

A respected design engineer, Narma had been hired by Les Paul to design and build Paul's first 8-channel mixing console. He developed several early limiter prototypes, eventually deciding on the design of what would eventually become the now-famous 670.

This design was then licensed by Sherman Fairchild, who up to that point, had a company who's primary industry was building aircraft.

Fairchild decided to create an audio equipment company, and he hired Narma as the company's first chief engineer.

Focusrite Forte ISA 110

PIECE: 32

The first commercial Focusrite product - a combined equaliser and mic preamp designed by Rupert Neve, who set up Focusrite back in 1985 after parting company with Neve Electronics. He called his creation the ISA 110, a comprehensive preamp built with a Lundahl transformer and a Neve EQ circuit.

It became the keystone product for which Neve founded his newest business venture upon, a boutique audio processor company he called Focusrite.

The circuits within the preamp were meticulously designed, and each unit was sourced and outfitted with military-grade parts. It was built with the intention of it being the best preamp money could buy, and Martin loved the module so much that he had Neve outfit his entire mixing console, in AIR Studios London, exclusively with ISA 110s.

It should be noted that these original consoles were not cheap. If you were to buy a pair of ISA 110s in the late 1980s, along with the required power supply and mounting rack, they would run you upwards of $7,000 (around $22,000 today).

Funky Junk Solid

PIECE: 1

There’s probably no compressor more iconic than the Solid State Logic bus compressor that first appeared in the SL 4000 E-Series console. Its reputation as being the ‘magic glue’ that could pull together any bus mix made it extremely popular in professional circles.

Funky Junk has successfully reproduced the wide-knee characteristic of the E-Series bus compressor’s response curve at low ratios, so that small amounts of low-ratio compression start to occur well below the set threshold.

This compression increases in level and ratio as the signal levels rise, and the full compression ratio is reached only when the threshold has been crossed.

Combining 2-3dB of compression with a low ratio, an automatic release time and an attack time that preserves the faster transients gives a result that pulls the bus together and that, with a bit of the dry signal mixed back in, can sound extremely natural whilst remaining well controlled.

This is where the real ‘magic’ lies.

George Massenburg Labs 8200

PIECE: 1

The 8200 was the first fully parametric equalizer in history.

At first glance, it seems to have been developed for pedantic control freaks. One might think you’d have to be real fun at parties to enjoy a device that allows you to boost 164 Hz by 0.3 dB with a filter Q setting of 0.8 and minimal coloration.

Gear-wise, the George Massenburg Labs 8200 is the pursuit of pure perfection.

When you turn on a GML, it’s not just about pure perfection because even the GML 8200 has its will. It’s something like the sophisticated gentleman of EQs. Mojo is also sometimes a question of dosage, and more isn’t always more.

George Massenburg Labs 8900

PIECE: 1

Twenty-two years of progressive research into loudness perception resulted in a limiter/compressor unlike any other.

The 8900 Dynamic Range Controller was intrinsically developed to react to loudness (rather than voltage) like our ears do.

This compressor will do exactly what you want. You can compress "the shit" out of it and you won't hear it.

"The GML George Massenburg Labs compressor is simply the cleanest, most usable compressor that has ever been made" -Steven Miller

Helios F700 LWT

PIECE: 2

One of the best British compressors ever made.

Lexicon 960 L

PIECE: 1

In 2001 Lexicon’s flagship multi-channel digital effects system.

Original text from a Lexicon 2001 advertisement:

“For nearly thirty years, the world's most accomplished engineers and producers have relied upon Lexicon for their most critical music and sound productions. To satisfy these discriminating media professionals and to meet the new demands of today's increasingly complex sound content, Lexicon introduces a new generation of digital audio signal processing technology with the new 960L Multi-Channel Digital Effects System.”

With a rich history in the audio industry, Lexicon has been responsible for many industry-leading innovations. In 1971, Lexicon was the first to offer a production digital audio product, the Delta-T. This was followed by the first commercially available digital reverb system, the Model 224.

The company was founded in 1971 with headquarters in Waltham, Massachusetts, and offices in Salt Lake City, Utah. It was acquired by Harman in 1993.

Lexicon PCM 42

PIECE: 2

One of the greatest delay units of all time - launched in 1982. You will find at least one in every control room of every major studio on earth. This is a timeless effect that takes delay to the next level. Overdriving the input has a great bite to it as well.

Original text from the owner's manual:
"The Lexicon PCM 42 is a high-performance digital delay line/processor that features 2.4 seconds of high quality audio delay. Delay times are indicated by a highly accurate numeric display, which provides rapid tracking of ALL changes in delay time.

The PCM 42 includes versatile audio patching and remote control facilities, and a unique synchronizing clock feature that allows highly musical usage of the very long delays of which it is capable.

Long repeat loops and layering effects which were formerly confined to the studio may now be used easily and reliably on stage.”

Locomotive Audio Model 14B

PIECE: 2

Locomotive Audio's single channel 14B compressor and limiter is based on a very old, but still very exciting concept of rebiasing the input tube with a sidechain control voltage. After all, some of the most famous compressors in history, such as the Fairchild 670, Gates Sta-Level and Collins 26U, employed this very technique.

The results are a sound that cannot be replicated with other ways of gain reduction. The Locomotive Audio 14B and its added modern features allow it to achieve a unique sound in its own right.

Authentic to the design aesthetic of classic vintage vari-mu and optical compressors of the 1940s − 1960s, the Locomotive Audio 14B-HW (handwired) is built with the same labor intensive care and attention to detail.

Every wire and component is selected and soldered by hand, ensuring each unit is special. Adding this artistic centerpiece to your rack is truly inspiring.

Marshall Power Break

PIECE: 1

The Marshall Power Brake is the power attenuator that delivers great sound at low volume levels.

You want great, overdriven tone? Your valve amp sounds its best CRANKED? But maybe you're in the studio and “somebody…” don't want your amp bleeding into everyone else's mics.

Or maybe you're one guitar solo away from getting evicted! How can you get monster sound at quieter volume levels?

Simple: Put a brake on it. The Marshall Power Brake is the power attenuator that delivers great sound at low volume levels.

Mercury M 66

PIECE: 2

The Mercury 66 is an all tube and all transformer, fully-balanced variable-bias limiting amplifier. The most sought after product in this genre has been the legendary Fairchild 660.

Which is recognized as an essential tool for making great recordings. Many manufacturers have tried to copy the Fairchild but have failed to capture the sonic essence. Until now.

This is the pen ultimate vari-mu Fairchild 660 'ish' compressor and the flagship of Mercury Recording line of vintage reproductions.

Just sending a signal through this box will make you smile. You want Ringo´s cymbal crunch - look no further. You gain that vintage warmth found only in tube gear and this guy has 8 tubes and weighs 38 pounds. Well... let's just say its a thing of beauty just looking at it.

Quote: “Some might ask, "Why recreate one of the most complicated pieces of recording equipment ever made?" The answer is: the Mercury 66 Studio Limiting Amplifier is based on the classic Fairchild 660 limiting amplifier because we were inspired by the unique sound that only this circuit can deliver to your audio signal path.”

There is truly nothing else like it. The Mercury 66 sounds like a Fairchild 660.

Mesa Boogie Recording Preamp

PIECE: 1

The Mesa Rectifier recording preamp is the first direct-recording preamp, that really deserves the name Mesa Rectifier.

Several years of developmental work where necessary to create the realistic recto-sound without power tubes, speakers, air in motion and microphones in a typical direct-recording scenario. Built with 6x 12AX7A, the preamp features two independent channels with three sound-modes each - that has established the fame of the Dual Rectifier Solo Head.

With independent record- and live-outs, parallel FX-loop.

No digital modeling - the Real Thing!

Millennia TD-1

PIECE: 1

The most complete and comprehensive D.I. on the market and also THE one for Bass and Guitar players.

The Millennia TD-1 combines an instrument/amplifier/DI input with mic and line recording paths and preamp outputs.

The sturdy, handcrafted, 15-pound tabletop unit incorporates many critically acclaimed design elements from other Millennia products, including alternate FET and tube circuit paths (the latter for instrument or speaker/amp input only), two bands of NSEQ-2 equalisation and the HV-3 solid-state mic preamp.

The ultimate D.I.!

Neve 1064

PIECE: 4

One of the most musical sounding preamps and EQs ever.

The Neve 1064 is a Class A discrete Mic Pre/ 3-band EQ - originally designed for Neve 80 series consoles. The preamplifier and equalizer are the same as a 1066, but in a longer module to fit 1081-size slots.

Formed in 1961, Rupert Neve & Co. was focused from the beginning on designing and building the highest quality professional audio components. After establishing itself in the marketplace, and moving from Rupert's house to a newly built factory in Melbourn, England, Neve went on to create three of its most iconic products: the 2254 Compressor/Limiter in 1968, the 1073 Mic Pre/EQ in 1970, and the 1081 Mic Pre/EQ in 1973.

Aimed at the broadcast market, these units were found in numerous custom-built Neve consoles of the day. And because so much of their work was customized, there are many variants on the basic 2254 Compressor and 1073 Mic Preamp, including different form factors, cosmetics, components and features.

Neve 1081

PIECE: 2

The Neve 1081 Classic Microphone Preamp/EQ is one of the most desired pieces of gear in the entire world. The 1081 made its first appearance in 1973 for Decca Studios in Paris and later starred in the Neve 8038 and 8048 consoles and is still being used on today's platinum-selling albums.

The 1081 has incredible sensitivity, fast and musical response to transients, as well as distinctive Neve equalization featuring effective high- and low-pass filters created to separate unwanted signal outside the passband. It uses the older grey, red and blue Marconi knobs on a faceplate of RAF (Royal Air Force) blue-grey paint.

Formed in 1961, Rupert Neve & Co. was focused from the beginning on designing and building the highest quality professional audio components. After establishing itself in the marketplace, and moving from Rupert's house to a newly built factory in Melbourn, England, Neve went on to create three of its most iconic products: the 2254 Compressor/Limiter in 1968, the 1073 Mic Pre/EQ in 1970, and the 1081 Mic Pre/EQ in 1973.

Aimed at the broadcast market, these units were found in numerous custom-built Neve consoles of the day. And because so much of their work was customized, there are many variants on the basic 2254 Compressor and 1073 Mic Preamp, including different form factors, cosmetics, components and features.

Neve 31102

PIECE: 72

As the saying goes....if you are here looking at this, then you know what they are and what they do! Truly some of the best and most used mic pre-amps ever made.

The Neve 31102 Mic Pre/3 Band EQ module originally came standard in legendary Neve 8058/8068/8088 consoles. To many, this was the finest sounding Class A mic pre/EQ module Neve ever made, with lots of Neve mojo. This is the same EQ/pre as the 1084. Or you can look at it as a 1073 with switchable top end, (10/12/16 kHz), a hi-q switch on mid's and lo-hi pass filters.

Formed in 1961, Rupert Neve & Co. was focused from the beginning on designing and building the highest quality professional audio components. After establishing itself in the marketplace, and moving from Rupert's house to a newly built factory in Melbourn, England, Neve went on to create three of its most iconic products: the 2254 Compressor/Limiter in 1968, the 1073 Mic Pre/EQ in 1970, and the 1081 Mic Pre/EQ in 1973.

Aimed at the broadcast market, these units were found in numerous custom-built Neve consoles of the day. And because so much of their work was customized, there are many variants on the basic 2254 Compressor and 1073 Mic Preamp, including different form factors, cosmetics, components and features.

Neve 3115

PIECE: 8

This is a classic early 1970s Neve broadcast model. Basically identical to the highly sought after 1081 modules. The differences were the frequencies used on the Equalizer.

They sound just fabulous.

These are not Class A. They are A/B. They actually have a more aggressive sound for rock 'n roll over the Class A Neve's. Everything that's “bad” about them back in the day is what's good about them, today.

What most folks don't know. This has a variable gain microphone preamp. As you change gain. It changes the negative feedback loop. This changes the character of the sound. When gain staged correctly, without overloading. They sound beautiful. However, when gain staged too high. The preamp starts to go a little nonlinear. It starts to saturate the output transformer. And then it makes magic!

Formed in 1961, Rupert Neve & Co. was focused from the beginning on designing and building the highest quality professional audio components.

After establishing itself in the marketplace, and moving from Rupert's house to a newly built factory in Melbourn, England, Neve went on to create three of its most iconic products: the 2254 Compressor/Limiter in 1968, the 1073 Mic Pre/EQ in 1970, and the 1081 Mic Pre/EQ in 1973.

Aimed at the broadcast market, these units were found in numerous custom-built Neve consoles of the day. And because so much of their work was customized, there are many variants on the basic 2254 Compressor and 1073 Mic Preamp, including different form factors, cosmetics, components and features.

Neve 32264a

PIECE: 6

The class A/B Neve 32264, and it's close cousin the 32264A, is possibly the best compressor/limiter ever made.

Legendary. Fast, clear, and punchy.

Great for setting lead vocals in the perfect sweet spot in the mix, and on most instruments, and across the mix buss. Limit and compress at the same time!

Originally found in vintage Neve 80 series consoles. Comparable to metal knob 33609 and other classic Neve compressors of that era. These compressors sound absolutely incredible.

Neve 33114

PIECE: 2

The Neve 33114 is a Class A/B Mic Pre with 3 band EQ and hi pass filter. The 33114 is very similar to the 1081, with only minor component differences for broadcast that do not affect the sound. Tight and punchy!

Formed in 1961, Rupert Neve & Co. was focused from the beginning on designing and building the highest quality professional audio components. After establishing itself in the marketplace, and moving from Rupert's house to a newly built factory in Melbourn, England, Neve went on to create three of its most iconic products: the 2254 Compressor/Limiter in 1968, the 1073 Mic Pre/EQ in 1970, and the 1081 Mic Pre/EQ in 1973.

Aimed at the broadcast market, these units were found in numerous custom-built Neve consoles of the day. And because so much of their work was customized, there are many variants on the basic 2254 Compressor and 1073 Mic Preamp, including different form factors, cosmetics, components and features.

Neve 33115

PIECE: 2

The Neve 33115 is a Class A/B Mic Pre with 3 band EQ and hi pass filter. The 33115 is essentially one half of the EQ points of the 33114. Tight and punchy!

Designed to 1974-1975 by Mr. Rupert Neve and his associates in Cambridge.

This amp uses the same technology, the same topology and the same electronics as its illustrious big brother, the 1081. This model, and the accompanying series (3114, 3117, 33115, 33114 and 33117), is simplified and more compact than the infamous 1081.

He equipped the "small" Neve consoles of the time (Melbourn) or Broadcast consoles (5315, 5316), while the 1081 equipped the 80 Studio Series consoles (8048, 8058, 8068 ) from the same period.

With a 3 band semi-parametric equalizer (against 4 for the 1081), it also has a high pass filter, a phase reverse switch and an on / off section of its correction.

The various names for the same model, 33115 - 3115 for example, designate electronically identical preamps but with slightly different cosmetics: "3" designating a different paint color : grey in one case, RAF Blue in the other, RAF meaning... Royal Air Force(!).

Sound quality ... Is it really necessary to talk about? It seems that time and history have already said everything about it...

Neve 83065

PIECE: 1

Amazing sounding vintage Neve stereo compressor/limiter.

Extremely rare and coveted.

The Neve 83065 was released in 1985, making it a relatively "modern" compressor, and evolved from classics like the Neve 2254 compressor. The 83065 is divided into two sections, with all stepped controls for instant recall.

Prime Studio 8x VU Meters

PIECE: 1

Equipment without meters is just great - trust your ears ;) But sometimes there could come a moment when you inexplicably need a few meters.

In the event of that strange, disturbing moment, our Prime Studio VU meters can be used wherever you need them. Input - Meter - Output -> Simple & effective.

Prime Studio® MP 7077 - LPO 7073

PIECE: 1

LPO 7073
CLASS A Line Preamplifier & DI Vacuum Tube Saturator

• Dual mono line / instrument preamplifier
• Fully discrete circuit design
• 500 series format
• 12AX7 vacuum tube
• Line preamp gain 45 dB
• Instrument preamp gain 50 dB
• Dual input architecture
• Flexible TT inputs and outputs
• Output level LED VU meter
• +48V switchable phantom power
• -20 dB switchable PAD
• Switchable distortion effect
• Switchable phase reverse
• Switchable simultaneous line and DI functionality
• Handcrafted with selected components
• Op-amp design by Charly Bohaimid

MP 7077
CLASS A Microphone Preamplifier & DI

• Mono microphone preamplifier / instrument / line preamplifier
• Fully discrete circuit design
• 500 series format
• Mic preamp gain 64 dB
• Instrument / line gain 50 dB
• Dual input architecture
• Flexible TT input and output
• Output level LED VU meter
• +48V switchable phantom power
• -20 dB switchable PAD
• Switchable Hi Z
• Switchable phase reverse
• Handcrafted with selected components
• Op-amp design by Charly Bohaimid

Pulse Techniques EQH-2

PIECE: 1

Vintage Pultec EQH-2 Program Equalizer dating back to the 1950s, offering an exceptional audio experience.

This iconic piece is highly sought after by artists and engineers,. With its signature sound-shaping capabilities, the Pultec EQH-2 has been the secret weapon behind legendary recordings by artists such as The Rolling Stones, Pink Floyd, and Miles Davis. Renowned engineers like George Martin, Quincy Jones, and Bruce Swedien have relied on its unique tonal characteristics and musicality.

Crafted during the golden era of audio equipment, this vintage Pultec EQH-2 is a testament to the craftsmanship and innovation of its time. The EQH-2 offers a wide range of frequency manipulation options, allowing you to sculpt and enhance the sound in a way that is both musical and precise.

Pulse Techniques EQP-I

PIECE: 1

Pultec founders Gene Shenk and Ollie Summerland unveiled the first passive program EQ in 1951. This EQP-1 was based on filter circuits licensed from Western Electric and sounded great, but suffered the gain insertion losses typical of any passive filter, so the duo upgraded their original unit to the EQP-1A, which followed the EQ section with a gain makeup stage using a push-pull design with 12AU7, 12AX7 and 6X4 vacuum tubes.
Designed for broad equalization of program material, the EQP-1A had four low boost/cut frequencies, three high-cut frequencies and a choice of seven HF boost points, along with a bandwidth control for shaping the high boost curve.

Like many boutique entrepreneurs, Shenk and Summerland built every unit to order by hand in their true two-man operation. Other Pultec units included the EQ-H2 high-frequency equalizer, the MEQ-5 mid-band EQ and the EQP-1A3 (an EQP-1A in a two-rackspace chassis), as well as solid-state versions, which had silver-face front panels. The original company folded decades ago.

Pulse Techniques EQP-IA

PIECE: 1

Originally introduced in 1951 as the EQP-1 by Pulse Technologies and designed by Ollie Summerland and Gene Shank in New Jersey, USA, this iconic equaliser became a staple of recording and broadcast studios throughout the world. After a modification to the design, it was remodelled as the EQP-1A and was in production for 30 years in that form.

The sound achieved by the Pultec EQP1-A is very musical and is generally used as an additive effect to add depth and warmth in the low-end frequencies and sparkle and air to the high-end frequencies. The EQP1-A is a Passive Program Equaliser with shelf boost and attenuate equalisation options for a Low Frequency section and a High Frequency section. You can both boost and attenuate at the same time, allowing for a unique resulting sound, although the manual states that you should not do this on the low frequency controls. Professional engineers, however, discovered a technique, over the years, using a combination of boosting and attenuating low frequencies to create the “low-end trick”.

This was particularly useful for adding extra punch to kick drums, acoustic guitars, vocals and bass guitars or indeed across the whole mix. This worked because the boost and attenuate shelves affected different frequency ranges.

Pulse Techniques MEQ-5

PIECE: 1

Magical tools revered for their ability to improve the sound of audio simply by passing signal through them. Pultec equalisers like the MEQ-5 are that stuff of legend. You’ve heard them on countless hits.

Use the Pultec MEQ-5 midrange equaliser to fine-tune this crucial frequency range in your mixes, while adding undeniable Pultec vibe too. The MEQ-5 dedicates its existence to everything between 200Hz and 7kHz. Thats where your vocal tracks are most vibrant, where your guitars have girth and body, and generally where mixes either shine or fall flat.

In classic Pultec fashion you get two bands of midrange boost and one attenuation band, and that’s all you need to add amazing mojo to any track with the Pultec MEQ-5 midrange equaliser.
The name Pultec is an abbreviation of Pulse Techniques Inc., a company that consisted of two men: Gene Shenk and Ollie Summerland. These electronic wizards made every piece of their gear by hand at their factory in Teaneck, New Jersey, not far from Les Paul’s house. In fact they even collaborated with Les on some projects.

Their EQ's were based on a design created by Gene Shenk (contrary to popular belief, only the negative feedback circuitry of the amplifier was licensed from Western Electric).With top-notch, hand-made craftsmanship and a unique sound, Pultecs remain one of the most sought after of the vintage passive equalizers.

PYE 4060

PIECE: 1

Thick, rich & gluey. Outstanding on guitars, snares, bass, etc. A very desirable compressor with its own unique sound.

PYE started out as a technical instruments manufacturer in Cambridge, England, and eventually got into making television receivers and cameras for broadcast. After developing the earliest British transistors in the 50s, they developed one of the first Class A solid-state compressor/limiters in the 1960s.

Their PYE Limiter was an essential part of the 'British sound' of the classic rock era.

The PYE compressor saw extensive use at London's famed Olympic Studios during the golden era of rock recording in the late 60s, when the Rolling Stones (Beggars Banquet, Let It Bleed) and Led Zeppelin (debut album) were among the many artists recording there. Eddie Kramer had a stint at Olympic, and made regular use of the PYE comp on the classic early recordings of Jimi Hendrix.

Roland Dimension D

This Roland product is a rather enigmatic device in that it is difficult to precisely describe its function. Rather than being a blatant effects unit, it falls more into the category of psychoacoustic processors.

The Dimension D achieves its sound by using compressor/expanders in the delay chain and pre/de-emphasis for noise suppression. The delayed signal is fed back to its channel of origin, and also to the opposite channel through a high-pass filter, (but with opposite polarity). Meanwhile, the original signal is given a bass increase, to avoid low frequency loss and to make the signal more complementary to the delayed signal.

Hands down, this Roland unit is the ultimate example of functional simplicity while providing a complex range of sounds and musical textures.

This was the secret weapon used by Stevie Ray Vaughan, Peter Gabriel, Stevie Stevens, Talking Heads, Culture Club, Beach Boys, INXS and the list goes on....

Roland RE-150

PIECE: 1

Simpler than the 201 and later models, the RE-150 Space Echo has three replay heads switchable between single or repeat echoes (head spacings are different to the 201), and of course varispeed for accurate tempo-matching.

elf-oscillation and dub-tastic effects are easily-coaxed from this machine. Great with everything, but can often be particularly good with beats and percussive sounds.

The RE-150 had the unique feature of offering two separate outputs – one for the Direct (Dry) signal only and one for the affected signal – a feature that found favour with many players.

By 1973, Ikutaro Kakehashi had ceased operating under the brand name Ace Tone and began producing new models of tape echo machines bearing the brand of his new company – Roland Corporation.

Roland RE-501

PIECE: 1

In 1980, Roland unveiled the flagship RE-501.
As one of the most iconic tape delays ever designed, the RE-501 is the last child of Roland’s dynasty of electro-mechanical effect processors. With onboard chorus, spring reverb and noise reduction, this unit sounds so lush… it’s hard to go back to anything else once you’ve tried it.

This box contains a specialised tape recorder that can create delay effects, commonly known as echoes, together with a spring reverb and a chorus effect. To create the delay effects, incoming audio is recorded onto a loop of magnetic tape then replayed via one or more playback heads before being erased by incoming audio as the end of the loop is reached.

The delay time between echo repeats is adjusted by varying the tape speed. The length or intensity of the echo effect is adjusted by changing the amount of echo signal fed back into the pre-echo signal.

By 1973, Ikutaro Kakehashi had ceased operating under the brand name Ace Tone and began producing new models of tape echo machines bearing the brand of his new company – Roland Corporation.

Shadow Hills Mastering Compressor

PIECE: 1

Shadow Hills Industries (to use their full name) is a company that produces and sells one of the most flexible compressors ever …
The Shadow Hills Industries Mastering Compressor created by enigmatic mastermind, Peter Reardon.

It is a mastering-grade compressor/limiter with two compressors (stereo or dual mono) in series and three different output transformer selections (Nickel, Iron, and Steel) to choose between clean, coloured, and dirty textures.

Shadow Hills serves the professional recording industry by constructing discrete audio paths in rugged antique military enclosures with versatile controls that remain highly functional to keep up with the changing landscape of modern recording and production.

Shep Neve Compressor Limiter

PIECE: 1

The Shep Neve SND6 is a high-quality construction of the classic Neve compressor, using numerous Neve components.

This one is called SND6, based on the 33609 or 32264.

Shep Associates was started by Derek Stoddart, one of the five original engineers who worked for Rupert Neve at his home-based factory in England.

Some years after resigning from Neve in 1976, Shep Associates was created, after Derek got numerous requests to modify Neve consoles.

ith many ex-Neve employees at Shep, there was plenty of experience with the Neve consoles and modules.

Shep and Neve worked out a licensing agreement which allowed Shep to build the classic Neve modules in order to do custom work on their vintage consoles.

This included doing a mod to convert 1073 modules to 4-band with the addition of a switched high frequency band as well as an overlapping presence band.

Hand-built to the highest standards, all Shep modules are fully discrete, and use original style components wherever possible.

Sontec Parametric Disk Mastering Equalizer

PIECE: 1

Sontec MES-432C/6 is considered by many top engineers as the BEST Parametric Mastering Equalizer. The absolute standard in mastering equalizers.

Created by the co-inventor of the parametric EQ Burgess Macneal (the other one is George Massenburg). According to him, 430/432 units since being introduced in the late 60s early 70s, have been used on more hit records than any other outboard mastering EQ.

It was over 51 years ago (1972) when the first ITI MES-430 Parametric Disk Mastering Equalizer appeared on the scene. Manufactured as a tool to assist ‘cutting engineers’ - you remember those guys, they cut the masters that were used to press weird-looking flat black round disks back in the day, called records.

Quote from Burger Macneal: “We could have written a book entitled; ‘Three hundred ways not to build an equaliser’...”

Summit Audio Dual Programm Equalizer

PIECE: 1

Summit EQP200 Dual Program Equalizer is essentially Summit's take on the Pultec EQ. Two channels of amazingly smooth and sweet EQ perfect for any signal.
 
This passive tube EQ is an incredibly warm sounding and accurate equalizer, hand built in the USA to the most exacting standards.
Features: Two independent channels, Switch selectable frequencies ,Passive I/O circuits & hand crafted in the U.S.A.

This is the rare original version, not the "A" or "B" version, it is simply labeled Dual Program Equalizer.

For tech geeks... this one was designed and made while tech guru Dave Hill was still running Summit Audio.

Summit Audio EQP-200 B

PIECE: 1

The EQP-200B is the newer dual channel equalizer that replaces the venerable EQP-200(A) unit. The 200B offers a new low frequency six dB per octave shelving filter starting at 50Hz.

Coveted by top professionals for decades, passive EQs have better phase coherence than active designs, and the inductors offer a rich, smooth harmonic quality.

The EQP-200B is an indispensable component to many key task's in the studio. From tracking to final touches to sparkle, the EQP-200B is the goto EQ!

In 1979, Michael Papp was running a record pressing plant and cassette duplication facility. He eventually moved into the business of buying and selling used audio gear from recording studios.

Seeing the great demand for old, used vacuum tube gear along with the high cost of upkeep and maintenance for these old products, Michael decided to try manufacturing new vacuum tube based products combining the sound and attention to detail of these old classics with the specifications and reliability of new, modern parts.

Summit Audio TLA-100 A

PIECE: 2

What a stunning compressor…

Summit Audio’s first product was the TLA-100, created by Michael Papp and Crane Song founder Dave Hill. Though it shares some control characteristics with vintage equipment, it was designed with unique circuitry and methods of levelling /compression. This union between classic function and modern day methods and technology has been the cornerstone of all Summit Audio designs.

The TLA-100 is currently the longest standing continuously produced piece of outboard gear in our industry.

In 1979, Michael Papp was running a record pressing plant and cassette duplication facility. He eventually moved into the business of buying and selling used audio gear from recording studios.

Seeing the great demand for old, used vacuum tube gear along with the high cost of upkeep and maintenance for these old products, Michael decided to try manufacturing new vacuum tube based products combining the sound and attention to detail of these old classics with the specifications and reliability of new, modern parts.

TAB / Siemens U 73

PIECE: 1

Super rare and real legend! Best classic vintage German tube compressor - if you're reading this you must know what it is!

The TAB U73 is the early model and the most difficult to find pieces of vintage gear. The U73 is one of the best sounding and fastest tube compressor / limiter ever built!

Nearly every record recorded and cut in Europe from 1959 to 1980 was mastered through U73. But the real fame of V72 and U73 was made thank to the great record by The Beatles at Abbey Road.

Although not as well-known as the classic Fairchild 660, the Telefunken U73 is in many ways its European counterpart. Like the Fairchild, it is a ‘variable-mu’ compressor/limiter which achieves gain reduction by varying the bias of a vacuum tube, and was originally intended for the same purpose: to control the dynamics of audio material being fed into a vinyl cutting lathe.

The U73 was developed in the late 50s by the IRT (Institut für Rundfunktechnik) and manufactured until 1980 by TAB Tonografie Apparatebau, makers of the legendary V76.

TAB / Siemens V72

PIECE: 2

Widely considered by some of the worlds handsomest audiophiles to be the greatest mic-pre of all time, and the crowning glory of the V series line.

The old V72 preamps have become collectors items and one of THE Holy Grails for high-quality studio recordings. In other words: "The really hot shit!".

The V72 was a self contained amplifier with a fixed gain level of 34 dB.  It was originally used as a microphone amplifier. By 1955 it was the standard pre-amplifier in German radio stations.

The North West German Radio (NWDR) working in cooperation with the Institute of Broadcast Technology (IRT) of Hamburg developed a complete new equipment standard for the German radio network.  This led to the development of the historic V72 module.

The V72 was developed by the NWDR under the technical supervision of Professor Nestler between 1949 and 1952 as a microphone and main studio amplifier.

Urei 1176 LN

PIECE: 2

The 1176 Peak Limiter is a dynamic range compressor designed by the American engineer Bill Putnam and introduced by UREI in 1967.
The 1176 LN (Revision C) added low-noise circuits on additional circuit boards and reduced distortion and changed the faceplate to black (1970). It was inducted into the TECnology Hall of Fame in 2008.

The 1176 derived from the 175 and 176 tube compressors marked the transition from vacuum tubes to solid-state technology. At the time of its introduction, it was the first true peak limiter with all solid-state circuitry.

With its distinctive tone and its wide range of sounds, deriving from the Class A amplifiers, its input and output transformers, the uncommonly fast attack and release times and their program dependence, and different compression ratios and modes, the 1176 was immediately appreciated by engineers and producers and established as a studio standard through the years.

Urei 1176 LN Blue Stripe

PIECE: 1

The 1176 Peak Limiter is a dynamic range compressor designed by the American engineer Bill Putnam and introduced by UREI in 1967.
The initial units (A and AB revisions) were available in 1967 and were informally referred as "blue stripe" for their blue-coloured meter section.

The 1176 derived from the 175 and 176 tube compressors marked the transition from vacuum tubes to solid-state technology. At the time of its introduction, it was the first true peak limiter with all solid-state circuitry.

With its distinctive tone and its wide range of sounds, deriving from the Class A amplifiers, its input and output transformers, the uncommonly fast attack and release times and their program dependence, and different compression ratios and modes, the 1176 was immediately appreciated by engineers and producers and established as a studio standard through the years.

Urei 1178

PIECE: 1

The Model 1178, released in 1979, is a two channel version of the very successful 1176LN Peak Limiter used in many recording studios, broadcast stations, sound reinforcement installations, etc. around the world. Essential vintage compressor for tracking, mix bus or stem processing.

The Dual Peak Limiter was designed for those applications where two channels of program material are processed, and the balance of these audio channels must be maintained. The two limiters inside the Model 1178 are matched to assure the high degree of tracking necessary for critical stereo applications.

Urei LA-4

PIECE: 4

The LA-4 is one of the UREI legends released in 1977.

The Universal Audio / Urei LA-4 Compressor/Limiter was the successor to the popular LA-3.

The UREI LA-4 Compressor/Limiter is a single-channel unit, although two may be strapped for stereo operation. Making use of URI's patented Electro-Optical Attenuator technology, the LA-4 offers smooth, predictable performance coupled with ease of operation.

The gain reduction is accomplished with an RMS detector, which is the analog of human hearing, so gain reduction is smooth and natural sounding.

Ursa Major Space Station

PIECE: 1

The Space Station, or SST-282, was described as a “reverberation effect.” It could apparently get reverb times of up to 3.5 seconds.

This may not seem like a particularly long time by modern standards, but it was a huge achievement given the architecture that was used. In the SST-282, the reverb effect was obtained by using a single delay line, with 15 output taps from the delay buffer summed and used for feedback, and an additional 8 taps used to monitor the delay line. Multitap delay lines such as this, where several taps are summed and used for feedback, can quickly reach a high reflection density.

In 1977, Chris Moore resigned from his role as Project Engineer at Lexicon, and formed his own company, Ursa Major. Working form his cellar, Chris set out to design an affordable digital reverb. After great effort, in 1978 he released the Ursa Major SST-282 Space Station — the same year as the Lexicon 224 Digital Reverb, but at about one quarter the cost. Ursa Major was bought by AKG in 1985.

WSW Dynamikbegrenzer

PIECE: 1

Brand: Wiener Schwachstrom Werke (WSW)
WSW Siemens WSW 601431 A Compressor / Limiter.

One of the finest vintage compressor / limiters you can find.

The built quality is superb German engineering the highest level possible.

It sounds very musical, warm and unique. It is transistor based but can kill tube Fairchild.

WSW (Wiener Schwachstrom Werke-> Vienna Lowcurrent Plant) was the Austrian branch of Siemens audio division and made similar looking versions of the Siemens and Klangfilm gear that was mostly identical in electronic design and circuit.

There are some WSW version of the V72 as well as the Movie EQs. During the late 60 early 70s WSW build am entire line of audio equipment that was mostly for the Austrian broadcast market. So, WSW is even better version of Siemens!!

Analogue Tube Lovebomb

PIECE: 1

The Stand Alone X Analoguetube Love Bomb is an all tube Overdrive / Preamp pedal, designed by music producer Gareth Johnson of Stand Alone Productions and tube guru Simon Saywood of Analoguetube.

At the heart of the Love Bomb is a fantastic military spec NOS 6948 sub-miniature tube from Sylvania / Phillips. Originally designed to power missile guidance systems during the Cold War, these tubes have now been re-purposed to create art and musical love.

Diezel Herbert

PIECE: 1

The Diezel Herbert is a mighty 180-watt head with three completely independent channels, including separate EQs, for perfectly dialled sounds at any output level.

The Herbert started out as a clean sheet of paper. Peter Diezel began with a different set of parameters. This time, the goal was to produce an extraordinary performance amp, capable of delivering delicate, dynamic shimmer; detailed, focused crunch and aggressive, soaring solo tones effortlessly – right out of the box – with the knobs at 12 o’clock - not 12!

Marshall JTM 45 Combo

PIECE: 1

Handwired and ready for action, this reissue of Marshall's classic 30-watt amplifier has rich and creamy overdrive that will burn the hair off your eyebrows.

Sporting twin 12" Celestion G12M-20 Greenback speakers, tube-powered tremolo circuitry and two EL84 power tubes, the Marshall 1973x 2x12 is a hand-wired, all-valve combo designed to summon the classic tone and power of vintage Marshall. Based on the original 1973 combo.

Marshall SL-X

PIECE: 1

This is a pumped up version of the much more common JCM 900 model, with extra tube on the preamp section. After the short lived run of the JCM900 Mk III, that amp was redesigned into the SL-X series in 1993. The two amps lines share the same control panel layout as well as model numbers, but they are quite different in sound and function.

The main principle is the same - a single channel amp, with two master volume controls, and more gain provided to capitalise on the popular hot-rodded and modded Marshalls of the time.This amp delivers classic sweet “Marshall sound” if you just know how to tune the gain settings. Kiss used these amps on their first reunion tour.

MESA Engineering Express 5:50

PIECE: 1

The Mesa Boogie Express 5:50 1x12 Combo packs the dominating tube amp power the company is praised for into a easy to transport, dual-channel package. Sporting a baseline Clean channel for open, transparent tone, the Crunch channel comes armed with even more tonal options through a Tejas-style Blues mode and punishing harmonically-saturated Burn mode that pushes your tone to the front of the mix. Topped off with the signature five-slider EQ section in addition to the hi/mid/low knobs, this hand-built titan brings big presence in a small package.

Prime Studio® LPO 7073

PIECE: 2

Prime Studio® MP 7077

PIECE: 2

RAVENSCROFT 220 PERFORMANCE GRAND PIANO

PIECE: 1

This Ravenscroft 220 Performance Grand Piano is proudly available in Prime Studio A, being the first ever available Ravenscroft Grand Piano outside of the USA.

7′ 3″ of exhilarating performance is at your fingertips with the Model 220. Enormous full bass, clear lush tenor, and an exquisite singing treble characterize the meticulously sculpted sound. The actions are individually CAD optimized to this piano in order to provide precise control and finesse that is incomparable. 

VOX Night Train

PIECE: 1

Offering 2 Watts of pure tube tone, the Lil’ Night Train is the ultimate compact amplifier. Whether you be rehearsing, recording, on the gig, or practicing quietly at home, the all-tube design offers a diverse range of authentic, authentic VOX sounds.

The exterior features a durable mirror-finished chassis, cut in the familiar VOX diamond pattern. Matched with the dedicated V110NT speaker cabinet, the Lil’ Night Train Set is the perfect rig!