Neumann CMV 563 SM8 S

PIECE: 1

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 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 M7 capsules

PIECE: 1

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 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: 1

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 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.

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.

Sennheiser MD 421

PIECE: 1

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: 1

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: 1

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.

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.

AVID S6

PIECE: 1

48 FaderAvid S6 Controller. Avid S6 delivers the performance you need to complete projects faster and deliver the best sounding mixes possible.
This special S6 in our control room B1 is provided with a specially built frame - The Prime Studio® S6 custom frame. Specially designed to fit your needs in daily studio business the new furniture concept offers a fast, intuitive and ergonomically workflow. Shaped like a real console and not as flat as the original frame which makes it difficult to read the displays (strange original concept)..Whether you are using a small system in your editing suite or want to integrate a fully loaded multi fader controller system into your control room Prime Studio® Furniture offers you seamless integration possibilities for all sizes of the S6.

Released in September 2013, The development of Avid S6 combined the experience of the engineers and designers responsible for both ICON and System 5, following the acquisition of Euphonix in 2010. The intention of S6 was to provide a highly modular and customisable mixing surface, alongside intuitive control of Pro Tools, which acts as both the mix engine and multitrack / dubber.
Because it’s built on proven technology, trusted by top audio professionals in the most demanding production environments.

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 8016 Custom

PIECE: 1

A really special Neve 8016 out of Caribou Ranch Studios / Colorado!

Classic 80 series 24 channel console (40 channels in mixdown) completely fitted with 1064 Pre/EQ modules and 2254 compressor/limiters.

After a four- month refurbishment, the console was send to us & installed in our Studio B2. The console's installation at Prime Studio control room B2 marks its return to Europe after over three decades in the states, where she became part of music history.

This Neve 8016's began her existence in1972, in London, where she was built. Original owner Sir George Martin used the console to produce albums for America and others before selling it to Caribou Ranch founder, James Guercio. Legendary in both, setting and sound, Caribou was a destination for major artists like Chicago, who recorded five studio albums on the Neve 8016; Elton John, for his album Caribou (named after the studio); and Earth Wind & Fire, who recorded two albums at the ranch, including the Grammy-winning “That's the Way of the World”.

After an electrical fire in 1985, the studio's doors were closed and much of the salvaged equipment was put into storage. Guercio ultimately donated the Neve 8016 to the University of Colorado at Denver, its last stop before Vintage King acquired the console and began restoration for Prime Studio.
Prime Studio's first session on the Neve 8016 was with drummer Gregg Bissonette, who has toured with the likes of Ringo Starr, Brian Wilson, David Lee Roth, Steve Vai and Toto, and played on recordings with the Counting Crows, Duran Duran and on the Grammy winning album Supernatural with Carlos Santana.

Quote Gerhard Buchbauer:"I was completely convinced that we found what we'd been looking for--it's not “only” a Neve, it really is one of a kind with the 1064 pre/eq modules, not to mention the incredible energy associated with this desk that really is a part of classic rock history."

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.

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.

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.

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.

Focusrite Forte ISA 110

PIECE: 1

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).

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.

Lexicon 480 L

PIECE: 1

Released in 1986, the Lexicon 480L Digital Effects System is renowned for its spacious reverb and vivid effects textures that have helped shape thousands of chart-topping tracks to this day.

Digital Effects System has been the standard by which all other signal processors are measured. The 480L remains a clear product of choice among top producers for the most discerning clients.

The most realistic reverb available and stunning effects that maintain the harmonic integrity of the incoming signal through to the output.

The 480L. Top producers and engineers the world over rely upon its extensive sonic capabilities and processing power. Since its inception, the 480L has been used on more gold and platinum recordings, as well as top-grossing film soundtracks, than any other system of its kind.

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.

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: 1

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: 1

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 1093

PIECE: 1

Same preamp as 1081 but extra mid band on the EQ. The EQs have different frequencies and the output transformers are also different, with a faster transient response that makes drum recordings sound bigger.

The most elaborate EQ of any original "vintage" Neve module, and specially built for the EMI NEVE recording consoles. Only seven of those consoles were built.

The EMI Neve series of audio consoles were designed and produced by Neve in the early 70’s to the exacting standards of EMI’s engineers, to be utilised worldwide in EMI studios.

They are considered by many, including then Head of the Electrical Design Drawing Office at Neve, Geoff Tanner [Aurora Audio] to represent the all-time pinnacle of audio console design, and have been described as an 8078 on steroids, amongst many other superlatives. 

Neve 2065

PIECE: 1

High Pass / Low Pass Filter smooth & easy - nothing to talk about…

OK, this Neve 2065 is a part of the legendary Caribou Ranch Neve 8016 console that found its place in our Prime Studio® Control B2.

Neve 2254 A

PIECE: 1

One of the landmark innovations in audio gear. Since its first appearance in 1969, the Neve 2254 Mono Limiter/Compressor has become a legend.

The “A” iteration of this highly sought-after Neve compressor, with variable threshold for the compressor and fixed limiter attack. A superb compressor, favoured for its warm and silky compression style. Beautiful on a wide range of sources from vocals and acoustic to strings, brass, ensembles and more.

With all-discrete Class A circuitry, transformer-coupled inputs, and many innovations - like its bridge-driver design - the 2254 created a totally unique sound that can only be described as 'Neve'.

The famous 2254 series of compressor limiters had its birth in the Neve 2253, which was a limiter designed for broadcast use in accordance with the Experimental and Development Department (EDD) of the Independent Broadcast Authority (IBA), a regulatory body set up in the UK in 1972.

By adding a compression side chain to the original design, the 2254 was born. In its original configuration, the 2254 was used in both broadcast and recording consoles as built-in units, usually as part of the meter bridge.

Neve 2254 E

PIECE: 1

The other Neve 2254 - the "E" version has a fast & slow limiter while the “A" version has only the slow limiter.

One of the landmark innovations in audio gear. Since its first appearance in 1969, the Neve 2254 Mono Limiter/Compressor has become a legend.

A superb compressor, favoured for its warm and silky compression style. Beautiful on a wide range of sources from vocals and acoustic to strings, brass, ensembles and more.

With all-discrete Class A circuitry, transformer-coupled inputs, and many innovations - like its bridge-driver design - the 2254 created a totally unique sound that can only be described as 'Neve'.

The famous 2254 series of compressor limiters had its birth in the Neve 2253, which was a limiter designed for broadcast use in accordance with the Experimental and Development Department (EDD) of the Independent Broadcast Authority (IBA), a regulatory body set up in the UK in 1972.

By adding a compression side chain to the original design, the 2254 was born. In its original configuration, the 2254 was used in both broadcast and recording consoles as built-in units, usually as part of the meter bridge.

Neve 33115

PIECE: 1

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...

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

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.
 

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: 1

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.

Tube Tech SSA 2A

PIECE: 1

The TUBE-TECH Stereo tube summing amplifier SSA 2A released in 2004.

This is the discontinued SSA 2A model - when it comes to taking several high quality signals and summing them into the mother of all stereo channels, Tube Tech SSA 2A really takes the cake.
 
The Company behind the blue TUBE-TECH gear is Lydkraft.

Lydkraft was founded in Denmark in1977 by John G.Petersen and two partners.

Urei 1176 LN

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 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 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: 1

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.

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: 1

Prime Studio® MP 7077

PIECE: 1

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!