Equalizer
A-Designs EM-EQ2 Dual Mono Pultec Style Equalizer Features Dual mono, three-band band, Pultec-style EQ Faithfully preserves the EQ section design, controls, and musicality of the Pultec EQP-1 Eminently suited for tracking, mixing, or mastering Same frequency settings and inductors as original Pultec make it a must-have for capturing bottom end Fully balanced, noise-free performance and modern impedance specs Quick and easy studio integration Wima capacitors True hard bypass A-Designs proprietary, custom-wound tapped Inductor A-Designs proprietary nickel core output transformer Rugged 2U metal housing with custom-milled faceplate and control knobs Big jewel power indicator lamp with heavy duty Carling power toggle switch. Many engineers and musicians would love to own an original Pultec EQP-1 equalizer, but the simple truth of audio equipment is that - unlike violins and brandy - electronics don’t improve with age. Even if you can find one on the vintage market that’s in decent shape and fully functional, the exorbitant price tag can be somewhat preventative…and the maintenance a potential nightmare. The A-Designs Audio EM-EQ2 is the answer for those who want the stellar sound of a Pultec equalizer plus the added benefit of modern performance and reliability. The EM-EQ2 faithfully preserves the EQ section design, control layout, and wonderfully smooth musicality of the original Pultec. It also has the same frequency settings and inductors that made the Pultec a must-have for accurately capturing and shaping the sound spectrum, especially the bottom end. The high band is attenuated at 5k, 10k, 20kHz; bandwidth and boost can be varied mid to high band at 3k, 4k, 5k, 6k, 10k, 12k, 16kHz; and, of course, the low band can be boosted and/or attenuated at 20Hz, 30Hz, 60Hz, or 100Hz. Boost and attenuation can be adjusted from 0dB to ±10dB. Eminently suited for tracking, mixing, or mastering, the two-channel EM-EQ2 is housed in a rugged, metal 2U chassis. It shares the same custom-milled faceplate, brushed-aluminum control knobs, big jewel power indicator lamp, and heavy-duty Carling toggle switch as the A Designs Hammer (which compliments the EM-EQ2 perfectly). Additional features include a proprietary nickel-core Cinemag output transformer, Wima capacitors, and true hard bypass. Instead of using common off- the-shelf chokes, A-Designs Audio employs a Cinemag custom wound tapped inductor. Along with the classic EQ circuitry, layout, and exceptionally musical tone of the original Pultec, the EM-EQ2 offers fully balanced, noise-free performance and modern impedance specs, making it easy to integrate it into any environment. Here’s the best part: with its dual-mono design, the EM-EQ2 gives you two Pultecs for a fraction of the price of one, making it easier than ever to add the Pultec magic to any project or professional recording studio or live rig.
Amazingly Easy to Use One of A-Designs most lauded sound sculpting creations is the HAMMER 2, a dual-mono, three- band equalizer that's most at home on the main mix outputs, but is also an outstanding tool for tracking. It's one of a very select few audio tools that enhances sound simply by running signal through it, thanks in part to an ingenious filtering system that passes musical 2nd order tube harmonics while eliminating unwanted noise - just the heating blanket your DAW needs. It's also ideal for adding "air" to vocals, carefully crafted punch to instruments or just the right texture to an overall mix; plus, a major benefit of its innovative design is the ability to push it as hard as you like - it's nearly impossible to make it sound bad. The HAMMER 2 couldn't be easier to use. Its overall frequency range covers 30Hz to 40kHz. Each channel features six detented rotary controls: three frequency selector knobs (Lo, Mid, Hi) which are stepped switches for easy recall, each with an accompanying gain knob providing continuously variable boost or cut of 12dB. Each band has a selectable center frequency, and overlaps with the other bands in such a way that makes for a seamless transition throughout the entire spectrum. Each channel also features individual toggle switches for EQ In/Out as well as Lo Cut (84Hz) and Hi Cut (8kHZ), filters that allow engineers to perform utilitarian EQ chores while still being able to bring the full power of The Hammer's three bands to bear. Mainly intended as a "broad stroke" equalizer, the HM2EQ's bandwidth (Q) is self-adjusting (floating), based on a combination of the amount of gain applied and the dynamics and frequency content of the program material. The Hammer's unique ability to have its Q "move with the music" is one the keys to its incredible musical performance, and is another reason why it's difficult to make the Hammer sound bad at any frequency or gain setting. Along with its innovative tube-harmonic filtering circuit, a pair of carefully selected 12AT7 tubes (offering the most consistent control of any tube) and a custom heavy duty toroidal power transformer add the final touches to the Hammer's signal path. Like its twin - the A-Designs "Nail" compressor - the Hammer features a black, custom-milled, brushed faceplate sporting custom-milled aluminum control knobs, a heavy-duty Carling toggle power switch, and a big blue jewel power indicator lamp- overall, a stunning combination of modern-retro looks that jump out of the rack. The Hammer is an inspired design whose sonic signature is far greater than the sum of its components. Perfectly happy in tracking applications or as an insert effect on individual channels, it is the ultimate full-range finishing device for sub-mixes and master outputs. After all, what audio toolbox would be complete without a Hammer? Features: World-class, three-band, dual-mono tube/hybrid equalizer. Designed to sound highly musical for larger EQ functions typically found on expensive mastering. Smooth, super-fidelity EQ, suitable for very high-end applications. Beautiful-sounding broad EQ-shaping across several octaves with no adverse effect on tone. Clean and airy high end. Warmth, transparency, and quality sound. Detened boost and cut controls. Fixed frequency settings with highly musical overlapping bands and floating “Q”. Low-cut and high-cut filters and bypass. Transformer-less 12AT output tubes. Custom-milled aluminum knobs and faceplate with EQ in/out, low-cut, and high-cut toggle switches. Heavy-duty Carling power toggle switch.
8803 Dual Channel EQ (voraussichtlich lieferbar ab Nov.2006)Ein weitere Teil der exklusiven 88 Serie ist der 2-kanalige EQ 8803. Diese EQ-Schaltung basiert auf dem legendären Neve 8108, jedoch sind die Regelbereiche in der Frequenzbearbeitung und dem Q-Range erweitert worden. Nach den Symmetrisch Eingänge folgt die Trimfunktion mit+/- 20dB und zwei 12dB/Oktave Filter. Die Frequenzbereiche der Klangregelung erstreckt sich von 33Hz bis 440Hz, 120Hz bis 2kHz, 0.8kHz bis 9kHz und 1.5kHz bis 18kHz. Über einen USB Anschluss können die Einstellungen auf MAC und PC gespeichert werden um sie mit einer serienmäßigen Total Recall Automation jederzeit zu reproduzieren.Input trim +/-20dBHigh pass filter 25Hz bis 300Hz 12dB pro OktaveLow pass filter 3kHz bis 15kHz 12dB pro OktaveEQ High 1.5k bis 18kHz, schaltbar Shelving/Bell, schaltbar Hi QEQ MID High 0.8kHz bis 9kHz, Q range: 0.3 bis 7 stufenlos regelbarEQ MID Low 120Hz to 2kHz, Q range: 0.3 to 7 stufenlos regelbarEQ Low 33Hz to 440Hz, schaltbar Shelving/Bell, schaltbar HiEQ Bypass SchalterSignal und Clip LEDsUSB für Recall1HöheneinheitXLR-Klinke Kombi für dienIputs, +4dBu, -10dBVXLR und parallel Klinke Outputs Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
The beginnings of the 5500 circuit can be traced back to the original 550 equalizer designed by Saul Walker, the founder of Automated Processes Inc. The 550 was designed as a console equalizer, which uses an unbalanced input due to the architecture of the recording console. Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited. The 5500 is specifically designed to address these limitations; it has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting and a range control that expands its versatility to mastering applications.The 5500's input XLR is connected to an active balanced circuit. The unit's output XLR is driven from a transformer coupled output and can drive any load from 600 ohms or more to full output capability. There is no change from input to output in the unit's polarity, so it is suitable in studios using either pin 2 or pin 3 as the "hot" connection. Additionally, the 5500 has a 1/4 inch input connector that interrupts any present signal on the input XLR. It is balanced and can be driven from either balanced or unbalanced sources. A positive signal on the tip will deliver a positive signal on pin 2 of the output XLR. Using the 1/4 inch input does not bypass any internal circuitry and does not change the gain or operating levels.Features: Classic 550b Equalizer design Two range switches to individually alter gain steps Useable as a 550b, 550D or 550M Peak/shelf switch on Hi and Lo bands True hardwire bypass Balanced In and Out on XLR Unbalanced input on 1/4" EQ In/Out switchTechnical Specifications: Power Consumption, Quiescent: .66 Watts Size: 19" X 1.75" (1U) X 11.25" Deep Size (Boxed for Shipping): 23.25" X 6.5" X 16" Actual Weight: 9.68 lbs. Shipping Weight: 13.51 lbs.
Der API 5500 ist inspiriert von Saul Walkers legendärem 550-Konsolen-EQ, der für moderne Studios mit zusätzlicher Flexibilität und Präzision neu konzipiert wurde. Während der ursprüngliche 550 für den Einsatz in kompakten Konsolen entwickelt wurde, überwindet der 5500 diese Einschränkungen mit einem symmetrischen Eingang, einem echten Hardwire-Bypass und einer vielseitigen Bereichssteuerung, die ihn gleichermaßen für Mixing- und Mastering-Anwendungen geeignet macht. Der 5500 wurde mit den renommierten diskreten Operationsverstärkern 2520 und 2510 sowie dem Ausgangstransformator 2503 von API gebaut und liefert den unverwechselbaren API-Sound mit außergewöhnlichem Headroom – bis zu +30 dBm vor Clipping. Sein Zweikanal-Design, der erweiterte Regelbereich und die masteringfreundliche Auflösung bieten eine unübertroffene Klangformung bei gleichbleibender Klarheit und Durchschlagskraft. Mit seiner robusten Bauweise, den transformatorgekoppelten Ausgängen und der geräuschlosen Mute-Stromversorgung ist der API 5500 für professionelle Studios konzipiert, die Zuverlässigkeit, Langlebigkeit und den klassischen API-Charakter suchen.
Aufbauend auf dem Erbe des klassischen API 550 bietet der API 550b denselben legendären Klangcharakter, der unzählige Hit-Platten geprägt hat – jetzt mit vier Bändern flexibler Entzerrung. Der 550b wurde direkt nach den Originalplänen von Saul Walker aus den 1960er Jahren entwickelt und verfügt über den exklusiven 2520 Op Amp von API. Er verbindet zeitlose analoge Wärme mit erweiterten Steuerungsmöglichkeiten. Jedes der vier überlappenden Bänder bietet sieben sorgfältig ausgewählte Frequenzpunkte, die bewusst aufgrund ihrer Musikalität und nicht aufgrund strenger numerischer Abstände ausgewählt wurden. Dank des einzigartigen „Proportional Q”-Designs von API werden die Filterbandbreiten automatisch angepasst – breiter bei subtilen Anhebungen und Absenkungen und schmaler bei extremeren Einstellungen –, wodurch natürliche, phasenkohärente EQ-Anpassungen ohne zusätzliche Komplexität gewährleistet werden. Von sanften Verfeinerungen bis hin zu kühnen Klangformungen bietet der 550b einen enormen Headroom (+30 dB Clip-Pegel) und Präzision, was ihn zu einem unverzichtbaren Werkzeug für Toningenieure beim Tracking, Mixing und Mastering macht. Zuverlässig, musikalisch und unverkennbar API – der 550b ist die moderne Weiterentwicklung einer Ikone der Aufnahmeindustrie.
Features 4 bands of equalization modeled after the classic APSI model 562 EQ Each band offers continuously variable control of frequency and gain, using separate knobs 12 dB of boost/cut per band All 4 bands are peak/dipping parametric configuration Custom transformer balanced output Fully balanced 1/4" and XLR input and output Massive headroom +24 dB clip level The SR24 is a two channel, four band equalizer in a two rack-space chassis. With a dedicated knob and/or switch for each control function, the SR24 is easy to use; by utilizing continuously-variable controls for both the frequency and boost/cut, the SR24 can be very precise in applying equalization to the selected audio material. The SR24 circuit design is deeply rooted in API's history. From the late 1970's to the early 1980's, an audio company called "APSI" manufactured consoles and equalizers. Their 562 module was a 4-band, fully parametric equalizer which was designed by APSI and sold through API. Over the last several decades, these EQ modules remained a favorite among many studio engineers, but have become increasingly difficult to find. The SR24 is a faithfully re-engineered version of the original 562, offering the user 2 channels of classic analog EQ in one rackmount unit.
Features 4 Band EQ based on the classic APSI 562 EQ Each band offers continuously variable control of frequency and gain 12 dB of boost/cut per band All 4 bands are peak/dipping parametric configuration Custom transformer balanced output High headroom +24 dB clip level Designed to fit API's 500 VPR Rack or lunchbox® The API Select SV14 EQ circuit design is rooted in API's history. Faithfully re-engineered from the highly sought-after APSI 562 EQ's which were distributed by API during the 1970's and 1980's, the SV14 provides parametric equalization at an affordable price point. The SV14 also features an EQ in/out switch, transformer balanced output, and dual concentric knobs which provide continuously variable control of boost/cut and frequency selection.
Features Proprietary API 2510 OpAmp Signature API output transformer 3-band EQ each with +/-15 dB of gain OpAmp overdrive circuit 40 dB of gain -20 dB output pad Buffered bypass The API Select TranZformer® GTR incorporates API's legendary EQ circuit into a versatile and compact guitar effects pedal. Designed to easily fit into your pedal board and engineered to run on standard 9V power supplies, the GTR offers +/- 15dB of gain on 3 specific frequencies. Additionally, the gain stage can be switched from Clean Boost to Overdrive mode to drive the input OpAmp and add even more tones to your arsenal. Other features include a buffered bypass, -20dB output pad, selectable peak/shelf for upper frequency range, transformer output, and of course the classic API sound.
Features: 100% analog audio signal path USB connectivity with MAC/PC all parameters are digitally controlled via touchscreen and/or DAW (with dedicated plugin) 399 presets, total recall, A/B comparison 5-inch capacitive touchscreen with back-light and multi-touch functionality, four encoders with push-button action for ease of control stereo, dual-mono and mid/side operation modes with solo function stereo 12 or 24dB/oct high-pass filter with adjustable cutoff frequency (15Hz – 150 hz) and resonance four stereo parametric filters with 15dB boost/cut range, variable Q (0.2 – 3): EQ1: 23Hz – 400Hz (bell/shelf) EQ2: 80Hz – 2kHz (bell) EQ3: 400Hz – 10kHz (bell) EQ4: 1kHz – 23kHz (bell/shelf) stereo passive equalizer with extended hi-boost section (23 and 28 kHz) and separate frequencies for low-boost and low-cut sections stereo 12dB/oct low-pass filter with adjustable cutoff frequency adjustable output level (+/- 12dB) Gain Lock and Auto-Q functions on-board measurement of PEAK/RMS levels and RTA analyzer on-screen live representation of the EQ curve
– 100% analog audio signal path – USB connectivity with MAC/PC – all parameters are digitally controlled by DAW (with dedicated plugin) – stereo passive equalizer with extended hi-boost section (air bands: 20 and 28 kHz) – adjustable output level (+/- 8dB) Digital SectionThe sound of the Stereo Passive Equalizer is of course based on the quality of its analog filters, precisely matched capacitors and inductors. But all the control and user interactions are performed in the digital domain. This allows us to incorporate options and possibilities not found in any standard analog equalizers: - Instant reset of all parameters - Rapid, precise and repeatable adjustments - Precisely linked stereo operation with the ease of a single control - DAW automation and recall of all available parameters The digital section of the Stereo passive Equalizer is based around high speed, 32-bit micro-controller, with dedicated firmware programmed into its memory (with the possibility of updating the firmware via USB connection). It controls the parameters af analog filters, watches over the user interface, presets management, audio measurement, USB connectivity and other SPE functions. DAW integrationThe Bettermaker Streo Passive Equalizer can communicate with your DAW via USB connection. The unit appears as a HID device and can be managed via Bettermaker Stereo Passive Equalizer Plugin
Der Black Box Analog Design HG-Q ist ein 3U-Boutique-Hardware-EQ und Sättigungsprozessor, der digitale Plug-in-Steuerung über seine echte analoge, röhrengetriebene Schaltung bietet. Weit entfernt von einem traditionellen EQ oder einer Nachbildung eines Klassikers, ist der HG-Q ein revolutionäres kreatives Kraftpaket, das Ihren Sound auf eine Weise formt und verbessert, von der traditionelle EQs nur träumen können.
controls and functions The Zodiak is a dual channel equalizer with the the following functions on each channel. LO CUT - a high pass filter that sweeps from 26Hz to 220Hz with a 12dB per octave slope and it's own IN/out switch. HI CUT - a low pass filter that sweeps from 2.3kHz to 21kHz with a 12dB per octave slope and it's own IN/out switch. BELL SWEEP - this section is the parametric midrange control with 10dB of CUT and BOOST available. The FREQ control covers 65Hz to 8800Hz with the upper range actitvated with the HI button. The BANDWIDTH control offers narrow to wide bell shaped curves. This section also has it's own IN/out pushbutton switch. TILT EQ - this control is always in circuit when the channel is switched IN. Clockwise rotation will boost the treble and cut the bass, anti-clockwise rotation will cut the treble whilst boosting the bass. OUTPUT - this control allows you to trim the output level to match the next device in your chain and has a + or - 8dB range. PEAK - this LED will light when levels inside the Zodiak signal path exceed +22dBu. POWER - A handy power on/off switch and associated power led common to both channels and conveniently located on the front panel where it should be! Different Options: Zodiak-ICT. High end Texas Instrument ic opamps in the signal path with an electronically balanced output. Zodiak-ICX. High end Texas Instrument ic opamps in the signal path with a Lundahl LL1517 output transformer. Zodiak-DCX. Buzz Audio BE41 discrete opamps in the signal path with a Lundahl LL1517 output
Chandler Ltd. und Abbey Road bringen zum 75. Geburtstag der Abbey Road Studios mit dem TG12413 Zener Limiter und dem TG12345 Curve Bender zwei neue Geräte der erfolgreichen TG-Serie heraus. Der Chandler Ltd. Curve Bender wurde in enger Zusammenarbeit von Designer Wade Goeke mit Abbey Road Senior Engineer Peter Cobbin geschaffen. Dieser Stereo-/ Dual Mono 4 Band Equalizer basiert auf dem berühmten EMI TG12345 Mischpult, das schon bei Aufnahmen mit den Beatles und Pink Floyd eingesetzt wurde. Das Grunddesign blickt auf eine lange Tradition von EMI eigenen Equalizer Designs wie dem 1951 entwickelten RS56, der schon damals den Namen Curve Bender von den EMI Designern erhielt. Die neue Chandler Ltd. Version des Curve Bender basiert auf dem genannten TG12345 Equalizer Design, wurde aber auf Wunsch von Peter Cobbin in seiner Funktionsvielfalt deutlich erweitert. Der zweikanalige Curve Bender besitzt je Kanal vier unabhängige Bänder mit den Filtercharakteristiken des Orginalpultes, sowie je einen Hoch- und Tiefpassfilter. Die mögliche Anhebung/ Absenkung kann von 10dB bei einer gleichzeitigen Schmälerung des Q-Faktors auf 15dB angehoben werden. Die beiden Mittenbänder besitzen Peakcharakteristik, die beiden äusseren Bass und Höhenbänder sind zwischen Peak- und Shelfcharakteristik umschaltbar. Alle Einstellungen werden über Elma Drehschalter getätigt, damit prädestiniert sich der Curve Bender geradezu für Masteringaufgaben.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
Der Carnaby HE2 ist ein digital gesteuerter 2HE / 19" Rackmount Stereo, Dual-Mono & Mid/Side 3-Band HarmonicEQ® mit zusätzlichem 2-Band Shaping EQDer HarmonicEQ® Carnaby HE2 nutzt dasselbe einzigartige und revolutionäre EQ-Konzept wie der Carnaby 500, indem er die harmonische Sättigung zur Anhebung und Absenkung von Frequenzen nutzt. Veredeln Sie Ihre Quellen, Stems und Mischungen mit echter analoger harmonischer Sättigung mit dem Gefühl, der Vertrautheit und der Kontrolle eines Equalizers. Mit dem Carnaby HE2 wird das Konzept jedoch noch weiter ausgebaut.Parametrischer 3-Band-EQ mit mehrDer Carnaby HE2 verfügt über 3 umgehbare, interaktive HarmonicEQ®-Bänder pro Kanal, egal ob er für Stereo, Dual Mono oder Mid-Side verwendet wird. Jedes Band verfügt über eine Anhebung/Absenkung von 10 dB und einen eigenen, überlappenden Frequenzregler mit Sweep-Funktion. Wie beim Carnaby 500 bietet jedes Band des Carnaby HE2 eine einzigartige Mischung aus harmonischen Inhalten, die auf das jeweilige Frequenzband abgestimmt sind, um ein Maximum an Musikalität zu erreichen.Das HI-Band hat einen Frequenzbereich von 5kHz bis 25kHz und nutzt eine sanfte Sättigung, um die hohen Frequenzen auf natürliche Weise über das Audioband hinaus zu erweitern, um Stimmen und akustischen Instrumenten den ultimativen Atem zu verleihen.Das LO-Band hat einen Frequenzbereich von 420 Hz bis hinunter zu 20 Hz und nutzt eine hart einsetzende Sättigung, um subharmonische Frequenzen in den hörbaren Tieftonbereich zu erweitern - perfekt für eine subtile Erwärmung des Tieftons oder eine extreme subharmonische Sättigung.Das MID-Band ist ein Peaking-Filter mit festem Q und einem weiten durchstimmbaren Frequenzbereich von 200Hz bis 6,2kHz. Es nutzt die Sättigung, um der Quelle in einem beliebigen Frequenzbereich eine harmonische Betonung zu verleihen.Im Gegensatz zu anderen EQs verfügt der Carnaby HE2 über ein dynamisches Ansprechverhalten und erhöht die Gesamtanhebung/-absenkung und die Obertöne, wenn die Schaltkreise härter angesteuert werden. Ein Eingangs- und Ausgangspegelregler an jedem Band ermöglicht eine Pegelanpassung von ±20 dB, so dass Sie den Carnaby HE2 mit dem Eingangsregler stärker ansteuern können, um mehr Sättigungs- und Verzerrungseffekte zu erzielen, oder ihn bei Bedarf für einen saubereren EQ zurücknehmen können.Vollständig digital gesteuert mit USB- und NetzwerkoptionenMit dem Carnaby HE2 erreicht die Steuerung eine völlig neue Dimension: Alle Tasten und Regler des Geräts können über USB oder ein Ethernet-Netzwerk ferngesteuert werden. Unser Steuerungs-Plugin lässt sich nahtlos über die USB- oder NET-Anschlüsse in die Carnaby HE2-Hardware integrieren und ermöglicht so eine bequeme Echtzeit-Steuerung und den Abruf in der DAW. Außerdem ermöglicht es das unabhängige Speichern und Laden von Presets.Per-Band-BypassErzielen Sie eine besonders präzise Klangformung, indem Sie jedes der 3 Frequenzbänder unabhängig voneinander auf Bypass schalten und so Ihre Einstellungen ausprobieren und feinabstimmen können.Erweitertes HF & LF ShapingPräzise HF- und LF-Cut-Regler mit individuellen Bypass-Reglern erleichtern die weitere Klangformung und helfen, Ihr Audiomaterial zu zähmen und zu formen.Mitten-/SeitenbearbeitungBesonders wertvoll für Mastering-, Mixing- und Sounddesign-Anwendungen ist die Mid/Side-Bearbeitung des Carnaby HE2, die es Ihnen ermöglicht, den HarmonicEQ® auf die separaten Mitten- (Center) und Seitenanteile (Stereobreite) Ihres Stereosignals anzuwenden. Es wird keine zusätzliche Hardware benötigt, Carnaby HE2 kümmert sich um alle notwendigen Kodierungen und Dekodierungen.Einschleifwege für Outboard-HardwareDas Carnaby HE2 verfügt über einen umgehbaren TRS-Insert auf jedem seiner beiden Kanäle. Die Inserts sind nach der M/S-Kodierung und vor der M/S-Dekodierung, so dass Sie jeden dieser Inserts zum Anschluss von Outboard-Hardware verwenden können, bevor Ihr Signal die HarmonicEQ®-Bearbeitung erreicht.Features3-Band HarmonicEQ®: Spezieller analoger EQ-Schaltkreis und einzigartige "Saturation-Core"-Technologie für harmonisch angereicherte EQ-Effekte.Vielseitiger Betrieb: Der Carnaby HE2 unterstützt Stereo- und Dual-Mono-Konfigurationen sowie Mid-Side-Encoding für eine verbesserte Kontrolle der Stereoabbildung.Intuitive Schnittstelle: Der Carnaby HE2 ist mit LED-Ringen und digitalen Drehgebern ausgestattet und bietet eine benutzerfreundliche und visuell intuitive Bedienung, die sicherstellt, dass alle Fernbedienungsfunktionen auf der Vorderseite des Carnaby HE2 wiedergegeben werden.Fernsteuerung und Recall: Nutzen Sie die USB- und Netzwerksteuerung und den Recall über das mitgelieferte Plugin, um Ihre bevorzugten Einstellungen nahtlos abzurufen, frühere Einstellungen abzurufen und Ihr Carnaby HE2 direkt von Ihrer DAW aus fernzusteuern, was einen optimierten Workflow in verschiedenen Studioumgebungen ermöglicht.Per-Band-Bypass: Erzielen Sie eine präzise Klangformung, indem Sie jedes der 3 Frequenzbänder unabhängig voneinander umgehen und so Ihre Einstellungen ausprobieren und feinabstimmen können.Erweiterte HF- und LF-Klangformung: Präzise HF- und LF-Cut-Regler mit individuellen Bypass-Reglern erleichtern die weitere Klangformung und helfen Ihnen, Ihr Audiomaterial zu zähmen und zu formen.Integration von Outboard-Prozessoren: Der Carnaby HE2 unterstützt Ihre Kreativität mit kanalweisen Inserts für Outboard-Processing und ermöglicht Ihnen so eine einfache Erweiterung Ihres Workflows.Internes Netzteil: Der Carnaby HE2 verfügt über ein internes Schaltnetzteil für den Betrieb zwischen 100 und 240 V.
IBIS, Crane Song's newest product, boldly takes equalization to a new level of musicality. Each of its four bands features switch-selectable frequencies centered on and covering musical-step intervals from 32-Hz 'C' to 22.35-kHz 'F.' Its four overlapping bands are labeled with note names and frequency allowing for the first time a 'translation' between musician-speak and engineer-jargon. The bandwidth control has similar notation with adjustment from 0.1 octave to 4 octaves per band and a boost cut range of 12 dB. The low-cut filter is switch selectable from 20-Hz to 150-Hz with slopes of either 12-dB or 24-dB per octave. Like most Crane Song products, IBIS utilizes discrete class-A circuitry and features a truly unique and adjustable 'color' function that can be applied to either the entire audio path or to any individual frequency band. A fully stepped mastering version is available.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
IBIS, Crane Song's newest product, boldly takes equalization to a new level of musicality. Each of its four bands features switch-selectable frequencies centered on and covering musical-step intervals from 32-Hz 'C' to 22.35-kHz 'F.' Its four overlapping bands are labeled with note names and frequency allowing for the first time a 'translation' between musician-speak and engineer-jargon. The bandwidth control has similar notation with adjustment from 0.1 octave to 4 octaves per band and a boost / cut range of 12 dB. The low-cut filter is switch selectable from 20-Hz to 150-Hz with slopes of either 12-dB or 24-dB per octave. Like most Crane Song products, IBIS utilizes discrete class-A circuitry and features a truly unique and adjustable 'color' function that can be applied to either the entire audio path or to any individual frequency band. Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
DW Fearn VT-5 Stereo-Vakuumröhren-Equalizer Der VT-5 Vakuumröhren-Equalizer wird Ihre Vorstellung von Equalizern verändern. Er ist weich, angenehm und bei milden Einstellungen sehr subtil, kann aber bei Bedarf auch aggressiv sein. Durch kreative Verwendung von Low Boost und Cut entsteht ein kraftvoller Bass, den man gehört haben muss, um ihn zu glauben. Der High Boost verleiht Gesang, Gitarren, Keyboards, Schlagzeug, Streichern … genau die richtige Helligkeit oder Brillanz. Der VT-5 eignet sich gleichermaßen für sanfte Klangkonturierung wie auch für extreme Klanggestaltung und lässt Ihre Musik ohne harte Artefakte erstrahlen.
Built in response to demand from a professional studio community searching for unique sonic signatures, the Dangerous design team took inspiration from the classic Baxandall shelving curves of the 60’s and 70’s and created a unique equalizer with a 21st century mastering aesthetic. The result is pure emotive expression with audiophile accuracy.“Unlike anything you have heard, but exactly like what you’ve been looking for.” -Phil Demetro, Lacquer Channel Mastering•Stepped controls throughout for repeatability and identicalstereo operation •Broad Q Shelving•7-position High Pass and Low Pass Filters--2-pole Butterworthconfiguration (12 dB/oct) •8-position High and LowFrequency Select •+/- 5dB Cut and Boost controlsin 1/2 dB steps
Electronically balanced inputs and outputs 2U rackmount chassis Low noise/distortion All controls are high quality Grayhill rotary switches
Electronically balanced inputs and outputs 2U rackmount chassis Low noise/distortion All controls are high quality Grayhill rotary switches
1971 - Dual 4-Band Parametric EqualiserThe 1971 offers 2 channels of fully featured 4-band parametric EQ. It has the ability to perform subtle shaping for mastering purposes that require a delicate touch and easy recall, but is just as capable of tonal sculpting, adding the analogue warmth and character that is near impossible to emulate in the digital domain. The versatile design features dual channel precision stepped potentiometers, providing exceptional accuracy for fast and simple recall.Fully Parametric with Totally Variable Bandwidth. The 1971 is a true ‘parametric’ equaliser, with the four bands having fully variable frequency controls and offer cut and boost of +/-12dB’s. However, unlike EQ’s with a no bandwidth adjustment, or a simple switch, the two mid bands have completely variable filter bandwidth controls enabling the user to focus in on very narrow sections of the audio spectrum or apply a broad natural sounding filter, or, of course, anything in between the two. This makes the 1971 incredibly versatile and capable of modifying everything from subtly fine tuning mixes to tone sculpting problematic recordings.Variable Low and High Cut Filters. The 1971 includes fully variable low and high cut filters (10Hz-225Hz and 4kHz-32kHz respectively), ideal for tuning out undesirable signals. The beauty of being fully variable is that, unlike fixed frequency filters, it is easy to sweep both controls to find the perfect setting and remove sounds with pinpoint accuracy. This is especially useful when bracketing individual tracks.Switchable Slope Setting. Very few analogue parametric equalisers have an adjustable slope on the low and high band filters, and is yet another feature of the 1971 that allows you to take control of your audio. The filter slopes of the 1971 have been chosen for their musicality - allowing you to adjust the focus of the audio at the bottom and top ends of your recording but not so harsh as to be a very noticeable brick wall filter. At the bottom end filter slopes of 6, 9 and 12dB per octave plus a Peak setting are available, and at the high end 6 and 12dB’s per octave.The Peak setting adds a narrow bell shape to the 12dB per octave low band filter at the knee frequency just before it rolls off. Especially useful on kick drums, it magnifies and gives extra weight to the hit whilst still filtering out any subsonic junk and without muddying the lower mid. It’ll give your kick an added sense of power and precision.Crush A feature that is unique to the 1971 is the CRUSH button. A switchable option available on each band, it adds a fixed time constant, auto gain makeup compressor, whilst also giving a wider rounder bandwidth. In addition it introduces some musically pleasing harmonics. The effectiveness of the Crush button will vary depending on the frequency band that it is used in and also on the instrument that it is applied to. Use it in the lower frequencies to fatten up the kick, tom or snare drums, bass guitar and other elements of the rhythm section. In the mid frequencies it will help to warm the mix and enhance the presence. It will thicken the guitars and add punch to the percussion, increase the attack of a piano, as well as help to bring out the raspiness in a vocal, for example. At the high frequencies it will bring out the shimmer of cymbals and brighten the string instruments.The effect is progressive, so as more boost is added to the band the CRUSH effect is more apparent. Use the switch to listen to A/B comparisons to hear the effectiveness of the feature.FeaturesVintage-style dual four band Parametric Equalisation which takes it’s inspiration from 1970’s-era analogue gear.Delivers classic sonic clarity and control at an affordable price.Indented and accurate potentiometers, providing precision for quick and simple recall.Variable low and high cut filters allow you to perfectly tune out any undesirable signals.Fully variable bandwidth provides absolute control for the parametric mid bands.Switchable slope plus low peak settings allows you to adjust the focus and magnify the bottom end.Switchable Crush on each band provides Fattness, Presence and Shimmer.True hardware bypass for for each band and also the unit provides accurate A/B comparisons.Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch.Classic Drawmer Build Quality with Rugged Steel Chassis and Aluminium Front Panel.Designed and manufactured by Drawmer in the UK.Technical SpecificationsInput Impedance: 20k Ohms or greaterMaximum Input Level: +21 dBuInput Gain: +/- 15 dBLow Cut: 10Hz - 240 HzLow Band: 35 Hz - 700 Hz, Slope: 6 dB,9 dB,12 dB, Peak, Cut/Boots: +/- 12 dBLow-Mid Band: 60 Hz - 2.1 kHz, Bandwidth: 0.33 - 3.3 octaves, Cut/Boots: +/- 12 dBHigh-Mid Band: 450 Hz - 13.7 kHz, Bandwidth: 0.33 - 3.3 octaves, Cut/Boots: +/- 12 dBHigh Band: 1.2 kHz - 20 kHz, Slope: 6 dB, 12 dB, Cut/Boots: +/- 12 dBHigh Cut: 4 kHz - 31 kHzOutput Impedance: < 100 OhmsMaximum Output Level: +21dBu into 10k Ohms LoadOutput Gain: +/- 15 dBFrequency Response: 20Hz to 20kHz +/-0.5dBCrosstalk: < -90dB @ 1kHzDistortion (THD+N): 0.003%Power Requirements: 230Volt or 115V at 50-60hZ, 15VADimensions (W x H x D): 482 x 88 x 270mmWeight: 4.2 kg
The vintage-style fully stereo 1974 four band Parametric Equaliser provides exceptional analogue musicality and sonic clarity, taking it's inspiration from 1970's-era gear. It has the ability to perform subtle shaping for mastering purposes that require a delicate touch and easy recall, but is just as capable of tonal sculpting, adding the analogue warmth and character that is near impossible to emulate in the digital domain. Get immersive with the stereo operation, with one set of controls for both channels. The versatile design features dual channel precision stepped potentiometers, providing exceptional accuracy for fast and simple recall. The fully variable bandwidth allows you to control the parametric mid bands, making adjustments as surgically precise or as broad and natural sounding as you could ever require. Fully adjustable low and high cut filters are also included, ideal for tuning out undesirable signals at the frequency extremes. It also features a switchable slope allowing you to alter the focus at the high and low frequencies plus a low peak setting that magnifies the bottom end. The 1974 is perfect for tonal shaping, staying true to the sound of the 70s and ideal for any musician. Genuine Stereo Operation with Indented and Accurate PotentiometersThe genuine stereo linked operation of the 1974 makes adjustment quick and extremely simple using just one set of controls to alter both channels. The 1974 uses precision potentiometers, each one being matched for left/right accuracy to within fine tolerances by our trained technicians, so that both channels operate identically, and also have indented operation, providing exceptional accuracy for fast and simple recall. Fully Parametric with Totally Variable BandwidthThe 1974 is a true 'parametric' equaliser, with the four bands having fully variable frequency controls and offer cut and boost of +/-12dB's. However, unlike EQ's with a no bandwidth adjustment, or a simple switch, the two mid bands have completely variable filter bandwidth controls enabling the user to focus in on very narrow sections of the audio spectrum or apply a broad natural sounding filter, or, of course, anything in between the two. This makes the 1974 incredibly versatile and capable of modifying everything from subtly fine tuning mixes to tone sculpting problematic recordings. Variable Low and High Cut FiltersThe 1974 also includes fully variable low and high cut filters, ideal for tuning out undesirable signals. The low cut (otherwise known as High Pass Filter) having a range of 10Hz-225Hz and the high cut (otherwise known as Low Pass Filter) 4kHz-32kHz. The beauty of being fully variable is that, unlike fixed frequency filters, it is easy to sweep both controls to find the perfect setting and remove sounds with pinpoint accuracy. Switchable Slope SettingVery few analogue parametric equalisers have an adjustable slope on the low and high bands. The filter slopes of the 1974 have been chosen for their musicality. At the bottom end slopes of 6, 9 and 12dB per octave plus a Peak setting are available, and at the high end 6 and 12dB's per octave. The Peak setting is quite a unique feature in that it adds a narrow bell shape to the 12dB per octave low cut filter at the knee frequency just before it rolls off. Features Vintage-style four band Parametric Equalisation which takes it's inspiration from 1970's-era analogue gear. Delivers classic sonic clarity and control at an affordable price. Genuine stereo operation with one set of controls for both channels. Indented and accurate potentiometers, providing precision for quick and simple recall. Variable low and high filters allow you to perfectly tune out any undesirable signals. Fully variable bandwidth provides absolute control for the parametric mid bands. Switchable slope plus low peak settings allows you to adjust the focus and magnify the bottom end. True hardware bypass for accurate A/B comparisons. Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch. Classic Drawmer Build Quality with Rugged Steel Chassis and Aluminium Front Panel. Designed and manufactured by Drawmer in the UK.
Two of them in one 19" case: Electrodyne 511 two-band inductor EQ: The Electrodyne 511 is a classic two-band discrete transistor reciprocal active inductor equalizer using 1969 / 1970 design technology. The custom inductors and output transformer are made by Electrodyne’s original maker, to strict factory manufacturing tolerances as small as 2%. This allows consistent eq performance and repeatability from channel to channel that was not possible in the 60,s. Smooth performance and eq response from minimum to maximum gain at all frequencies, provides unusually broad sonic and tonal options not experienced since the 1970,s.