1081 MIC PREAMP & EQUALISER
Designed in 1972, the 1081 was originally conceived as a combined mic/line preamp and equaliser section for the Neve modular consoles of the time. A look through the credits on today's platinum-selling albums reveals that these vintage consoles are still widely used to great effect, confirming the 1081's status as a truly classic component in a recording front-end or mixing environment. We are still hand-building 1081 modules in Burnley, UK much the same way as the original modules, using the original components, hand-wound transformers, and time-honed construction methods.
8803 DUAL CHANNEL EQUALISER
Designed to deliver the inimitable sound of the flagship Neve 88RS console, the 8803 Dual Equaliser's circuitry is based on the classic Neve 8108 topology. Balanced Inputs and +/- 20dB trim are followed by two 12dB per octave filters. The High-Pass Filter has a variable corner frequency from 25Hz to 300Hz, and the Low-Pass Filter has a range of 3kHz to 15kHz. The four bands of equalisation offer selectable shelving and switchable Q on both of the high and low bands, with continuously variable Q on the mid frequency bands. Frequency selection is variable on all bands within the ranges of 33Hz to 440Hz, 120Hz to 2kHz, 0.8kHz to 9kHz and 1.5kHz to 18kHz.
With the classic combination of a mic preamp, filter, EQ and dynamics, the XLogic Alpha Channel brings SSL's sonic legacy bang up to date in an analogue channel strip designed to provide the perfect front end to your digital audio workstation.
With all the features needed to record great vocal or instrument tracks, the Alpha Channel offers a studio class mic pre and processing based on SSL's years of experience in designing the world's leading analogue recording consoles. A huge proportion of the music you know and love was recorded on SSL, renowned for the superior audio qualities you've heard on countless hit records. That elusive sonic ingredient is here in the Alpha Channel.
Whether you need to track pristine vocals, crunched drums or electric guitars on the edge of sonic destruction, the VHD Pre delivers a powerful and versatile sound shaping tool kit - the perfect analogue companion to your digital recording system. Based on the VHD circuit from our acclaimed Duality console, the VHD Pre adds four SSL mic preamps to any line level DAW audio interface, transforming it into a professional quality, multi-channel analogue recording system.
The four ultra-clean, high-grade mic preamps are combined with independent Variable Harmonic Drive circuits that use 100% analogue signal paths to generate rich harmonic distortion - adding SSL analogue attitude to your digital recordings. As you increase the input gain, the Variable Harmonic Drive circuit introduces a blendable mix of 2nd or 3rd harmonic distortion to your source material, taking it from gentle valve-style warmth through to trashy 'transistoresque' grunge. It's a new world of overdriven possibilities.
XLogic SuperAnalogue. SSL's legendary console processing for your rack.
1176LN Limiting Amplifier
The original Universal Audio 1176LN designed by Bill Putnam was a major breakthrough in limiter technology - the first true peak limiter with all transistor circuitry offering superior performance and a signature sound. Evolved from the popular Universal Audio 175 and 176 vacuum tube limiters, the 1176LN retained the proven qualities of these industry leaders, and set the standard for all limiters to follow.
Today, the 1176LN is new again. While it certainly would have been possible - and much simpler - to modernize and "improve" the 1176LN, every effort was made to remain faithful to Putnam's design and intentions. Carefully trained staff hand-wire and test each unit until it meets our uncompromising standards. This Universal Audio Classic version of the 1176LN captures all the nuance of the original through obsessive attention to detail and delivers that trademark sound. Demand the original. Accept no copies.
LA-610 Classic Tube Recording Channel
The LA-610 brings UA's legendary vintage "all tube" luxury sound into a modern channel strip format by combining the 610 Mic-Pre/EQ/DI section and a T4 Opto-compressor into a single 2U unit with a ground-breaking price.
The 610-tube preamp,DI and EQ is from UA's TEC award winning 6176 and is based on the legendary console modules developed by Bill Putnam in the 60's. Countless classics have been recorded using these preamps, noted for their musical character and warmth.
The simple operation and program dependent nature of the LA-610 T4 compressor provides the same extremely musical control that has made the LA-2A such a well-loved classic for over 40 years.
6176 Channel Strip
Advances in digital recording technology are providing users with tremendous power and flexibility for increasingly less money. All too often, however, the audio quality of these systems is limited by their input stages. Many users who demand the power and flexibility of today's recording technology find themselves yearning for the warmth and tone of yesteryear's hand-built analog circuitry. Now with the release of the 6176, Universal Audio, for the first time, combines their highly acclaimed 610 tube microphone preamp with their legendary 1176LN compressor to create the ultimate single channel signal path for everything from vocals to vibraphones.
The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and "musical" manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a "limiter" or "compressor" by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production.
The EL7 FATSO is a modern digitally controlled analog device that offers many of the "musical non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. This two channel audio processor will musically integrate frequencies and transients and increase the apparant volume without actual increase in peak levels. In addition, two channels of famous Empirical Labs compression are provided. There are several compressor "types" with fixed attacks and releases (if you want a fully controllable compressor, you will need the Empirical Labs Distressor!).
The new C-1 compressor maintains its position as the most flexible, polished sounding high end compressor on the market today. Now featuring a spectacular raven blue 6mm CNC milled aluminium front panel, General Electric US military specification valves, high retention gold plated ceramic valve bases and circular back-lit VU meters, the new C-1 is even fatter sounding and more rugged than its legendary predecessor.
The EQ-2 boasts two channels of fully parametric 4 band valve equalisation - which in conjunction with variable high and low cut filters offers unlimited control of any audio source. But that's not all - unlike many valve equalisers, the EQ-2 provides continuously variable frequency controls, so choice of frequency is not limited to switched selections. It also features a pair of the acclaimed TL Audio mic preamps (with phantom power), to enable high quality direct-to-tape microphone recording, and a pair of front panel auxiliary inputs enable a guitar or keyboard to directly access the EQ-2.
Ebony A4, Discrete Class A16:2 Summing Mixer.
The Ebony A4 is the latest addition to TL Audio's newest range, the Ebony Series - a sleek looking range of black Discrete Class A Processors.
The A4 is a 16:2 summing mixer housed in a 2U unit and features 16 balanced inputs on TRS and D-Sub with individual pan controls. All inputs are also switchable between +4 and -10 for greater flexibility.
The TLA Fat Track
Designed to be the centrepiece of any home, project or professional studio, this unit combines some of the best-loved TL Audio features into one compact and professional unit, adding warmth and sonic pleasure to all recordings and mixes. Drawing on our larger and highly acclaimed M series consoles, the Fat Track offers you that unrivalled big desk sound in a more compact, intuitive and affordable package..
The Fat Track can capture your recordings with two premium TL Audio tube preamps as used on our M Series consoles contained within two fully featured channel strips with 3 band swept musical EQ taken from our M1 console. Use the Fat Track for summing and mix-down also, with 4 stereo and two mono returns. You will immediately become aware of the richness and clarity of sound you gain when summing your audio analogue via the Fat Track. You can even bring your entire mix back via the 2 mono channels to add some EQ or final warmth, patch in a compressor to the master inserts and suddenly you have a complete mastering solution too!
UK based Blue Coconut Ltd, manufactures of the ECHOVERB commissioned Terry MacDonald to design the unit from the ground up, and this is the result of 2 years of research and development. Terry was the right man for the job as a former freelance consultant for Watkins/WEM company which built the successful COPICAT in the 60's he has 38 years of experience with the technology making him one of the major authoritative figures in the UK on the tape echoes.
Being a totally new design rather than a copy, the aim was to eliminate all the problems associated with the early tape echo machines, improving the performance, whilst retaining the unique analogue tape echo sound which has never been achieved through digital devices. Modern improvements for example include extremely low noise circuitry and the ability to select any combination of 6 available heads and a reverb which uses the tape producing a authentic & retro sound. Also, a precision custom made fly wheel ensures no noticeable pitch deviation (WOW and Flutter), compared to that of the old tape echo device.
It also has a solid chassis with an authentic but contemporary look and gives function and reliability both for the gigging musician, and for a studio environment. The front panel has a Hi/Low gain jack input for instruments along with a separate jack insert and return for guitar pedals, and an echo on/off jack footswitch. On the rear of the unit, line level transformer balanced XLR's are provided.
SLAM! Stands for "Stereo Limiter And Micpre" and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending- it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.
When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, "It just works" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it.
Massive Passive;
Creating natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. The Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. Manley knows that recording and mastering equalizers are used by artists for artistic goals and we balanced this design with a little more art than science. The Massive Passive is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Massive allows twice as much EQ with half the coloration. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure.
Vox Box;
Primarily, it is a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and well thought-out ergonomics. Full of features, timeless style, robust build quality, and that world-famous "Manley Sound".
Phoenix
The Phoenix is a stereo compressor, which can be used as a pair of mono compressors. It has a 'soft knee' or 'variable mu' characteristic in that the compression ratio increases with the amount of compression being used. Initial compression is 1.2:1 increasing to 5:1 at 15dB compression.
The Master Phoenix is easier to recall as it has a mixture of indented and switched controls and the screwdriver adjustment on the chassis behind the meters controls the current through the valves on this unit, so this corrects to some extent for valve ageing. A screwdriver is supplied with the Master Phoenix and should be used periodically to adjust the meters to zero.
- Stepped Input & Output controls
- 6 position switched attack control
- 7 position switched release control
- 11 position switched threshold control
Culture Vulture
Originally designed as a "distortion box" to simulate distortion in valve amps it has found lots of uses beyond this. We know that some owners use them on drum loops, vocals, piano sounds and even across entire tracks (it is a stereo unit).
We have refined this so that distortion figures are reduced to only 0.2% at lowest to about 99.9% (at least that's what our distortion meter tells us!). Predominant distortion can be changed from even to odd harmonics with a simple switch. We know it's recently been rented to mix a JAMES BOND movie!
The MDP-1 is a modern two channel vacuum tube Mic/DI preamp designed to be the ultimate way to get your mic or source directly to tape or hard disk. Unlike vintage or hybrid designs, the MDP-1 uses a pure tube, class A high voltage circuit topology with a transformerless output stage to deliver an open, intimate sound with a level of detail that meets the requirements of the most demanding recording applications. Our short signal path design excels in audio performance, delivering extremely wide bandwidth, low noise, and high headroom.
The Quartet is an all-purpose recording tool designed with the ultimate in sound quality and flexibility in mind. We have combined four elements - Mic/DI preamp, Opto-compressor, EQ, and De-esser -into a fully integrated package that it makes it easy to track any source. In addition, the Mic/DI preamp, EQ and Compressor/De-esser are completely independent entities that can be patched out and used separately - a hand feature that makes it a valuable tool for mixing as well as tracking.
Standing for 'Input Signal Amplifier', the ISA range was born out of the original Focusrite Forte console of the late 80's. This console was, and still is, considered by many as sonically the finest console ever built. The core modules from this console live on with Focusrite's current range of ISA products, which have in themselves also become recording classics, and the choice of the word's finest producers and engineers.
Rather than creating a similar sound to vintage units, as with modelling devices, Liquid Technology samples their sonic behaviour. This is achieved through Dynamic Convolution; the application of a unique, level-dependent set of responses to an audio signal. These measured responses, sampled at numerous levels and with every possible setting combination, are applied to the input stream on a sample-by-sample basis for accurate emulation.
The Ultimate Desert Island Processor
Featuring nearly sixteen hundred post-production and music effects preset-algorithms, never before has Eventide unleashed so much power for your creative endeavors.
The Most Powerful Two-Channel Effects Processor You Can Buy
The H7600 provides 1100 preset-algorithms, 174-second sampler, and sorting capabilities for unprecedented stereo effects processing prowess.
There's never been a compact effects box like Eclipse.
From the amazing range and depth of its algorithms to its comprehensive array of analog and digital I/O ports, the Eclipse puts the legendary effects processing power of Eventide within your reach.
