The Chandler Limited Mini Mixer is the culmination of Chandler's experience working with many types of vintage, discrete circuits. The Mini Rack Mixer traces its lineage back to several types of these amplifiers developed in the 60's and 70's that have been Chandlerized for modern usage. Each Channel of the 16x2 Mixer is transformer balanced and driven by the New Chandler Line Amp, which borrows from Chandler's other products but has been redesigned for use in this mixer. The Mini Mixer is jam-packed with discrete amps and classic sound, 20 discrete amplifiers and 22 custom wound transformers in the unit, and delivering all the punch and tone you need for todays digital environment. The Mini Rack Mixer Expander comes without the control room and master section.

The Chandler Limited Channel is a recreation of several classic circuits and combines a TG2 pre amp section with an equalizer that was redesigned from an equalization circuit used in the TG12410 Transfer or mastering console. The mastering counterpart to the original "Beatles desks". Our version has been remade using original design information and circuit board drawings as provided by Abbey Road to ensure extreme authenticity! We've even remolded the old TG style pointer knobs. The active portions of the unit use the same discrete amplifiers and transformers as in the TG1 Limiter and TG2 pre amp. The passive equalizer portion of the EQ is an all inductor design and offers sweet high frequencies with large inductor based lows, and a very high "Q" mid cut section. Designed to sound like a fine musical instrument instead of a modern surgical tool, it's sound is very comparable to Pultec and Lang program eqs but made from TG circuits. A simple description would be a TG Pultec with a TG pre amp thrown in.

The Chandler Little Devil Equalizer uses all discrete circuits that combine Chandler's best designs with the hottest designs from the past, transformer balanced everything, and the American hand made quality you expect from Chandler, the LITTLE DEVILS will take the lunchbox UP to the next level... Technically and sonically speaking, the Chandler LITTLE DEVILS are steeped in the sound and function of all Chandler gear - discrete amplifiers, inductors, transformers, and quality American build. You won't find any surface mount or ribbon cables in the Little Devils (used to build cell phones and computers) that are becoming popular money-saving and sound-crippling build techniques used by some other manufacturers.

The TG12345 MKIV EQ for 500 Series, inherits from Chandler Limited’s TG Microphone Cassette and flagship TG12345 Curve Bender, and draws its heritage from the channel equalizers found on historic EMI TG12345 recording consoles of the late ‘60s and early ‘70s. EMI’s transistor based TG12345 recording consoles helped shape the sound of the Beatles’ final album, Abbey Road, which was notably richer sounding than the band’s earlier work, and Pink Floyd’s “Dark Side of The Moon”. The TG12345 MKIV equalizer is a handmade, fully discrete, mono, single space module, designed for the 500 Series format and includes presence and bass bands, with continuous boost/cut, and true bypass. The presence band is switchable, featuring eight frequencies and an out position. The first seven frequencies are bell type, and the eighth is a shelf at 10 kHz. The bass band is a shelving type, featuring two frequency options, 90 or 150 Hz. The rich character of the TG12345 MKIV EQ is silky smooth and the sound is Curve Bender sweet. Together with the Chandler TG Opto compressor and TG2-500 preamp the TG12345 MKIV EQ creates a classic EMI TG console channel in a 500 Series rack. NOTE: Add the following disclaimers on product pages. Chandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios. Chandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD and RS and their associated logos are trademarks of EMI (IP) Limited.

The EMI TG12413 Zener Limiter is the ultimate TG Limiter issued in celebration of the 75th birthday of Abbey Road Studios. The Zener Limiter was conceived by Chandler Limited designer Wade Goeke and is based on the vintage EMI circuits used to record The Beatles and Pink Floyd. This newest EMI Limiter continues the tradition of EMI Limiters started in 1956 with the RS114 tube limiter, and continued with the RS168 Zener Limiter in 1966, part of the TG12345 console channel in 1968 and TG12413 in 1974. The newest version borrows from the RS168 Zener Limiter and TG12345 console strip to make a new fully featured and flexible unit for modern use. It is interesting to note that the TG Limiter was originally designed to replace both the Fairchild 660 (Limit Mode) and the Altec 436/RS124 (Comp 1 Mode) The main reason for Zener Limiter reissue was to add features and flexibility to the powerful and vintage sounding TG limiter circuits. To that end Wade has added many new controls including switchable input impedance for hard of soft driving of the unit, 11 position attack, 21 position release, side chain filtering, and Comp1, Comp2, and Limit settings. A simple Limiter from the rich past of EMI and Abbey Road has now come full circle into a modern powerhouse suitable for recording, mixing, and mastering. The rest is NEW Chandler Limited/EMI/Abbey Road history....

The EMI TG12345 Curve Bender is the ultimate TG equalizer issued in celebration of the 75th birthday of Abbey Road Studios. The Curve Bender was conceived by Chandler Limited designer Wade Goeke and Abbey Road senior engineer Peter Cobbin and is based on the vintage EMI TG12345 desk used to record The Beatles and Pink Floyd. This newest EMI equalizer continues the tradition of EMI eqs started in 1951 with the RS56, affectionately entitled the Curve bender by EMI designers and continued with the TG12345 in 1968, and TG12412 in 1974. The newest version takes the simple but beautiful sounding TG12345 equalizer and realizes it in a fully featured and rethought package for today's use. During his mixing of numerous Beatles related projects including, Anthology, Yellow Submarine, and Imagine, Peter Cobbin thought of having a fully featured and ultimately flexible version of the original desk eq units. After Wade presented him with a working version of the famed console eq Pete realized his time had come and set Wade to making his unit. Peter asked for four bands and filters based on the slopes of the original desk but with overlapping and expanded choices. Wade turned the 9 selections on the vintage version into 51 eq points plus a multiply switch that increases the boost/cut to 15db (as well as sharpening the Q), filters, and bell/shelf selections on the high and low bands. A simple equalizer from the rich past of EMI and Abbey Road has now come full circle into a modern powerhouse suitable for recording, mixing, and mastering. The rest is NEW Chandler Limited/EMI/Abbey Road history...

The Chandler Limited EMI Abbey Road Studios TG Microphone ‘Type L’ is a solid-state large diaphragm condenser microphone and, as the name implies, the Type L is descended from the innovative TG Microphone. The TG Microphone Type L inherits the core circuitry, capsule and ‘Dual Tone System’ of the larger TG Microphone, however, with its own unique voicings. The Dual Tone System modifies the input stage of the Type L and extends the versatility of the microphone to accommodate a greater array of sources. System ‘A’ is TG mid forward and harmonically rich, whereas the ‘B’ voicing takes extreme SPLs and is more pristine. The TG Microphone Type L is a 48V phantom powered FET microphone that has a larger than solid-state sound. The Chandler Limited EMI Abbey Road Studios TG Microphone Type L kit includes: microphone, swivel mount and bamboo storage box.

Wade called this pedal a Colored Boost for a reason! It's not a clean boost, but it's not a fuzz either. The Little Devil Colored Boost can gently color your Fender or drive your old Marshall into oblivion. The soul of the Colored Boost is the Class A amplifier design and the selectable Feedback/Bias control. The six presets range from slightly fuzzy to a "in your face" plexi sound. Each preset has its own style of harmonic distortion and clipping, with different effects on a sine wave signal. Soft clipping; hard clipping; clipping on the top, bottom or both sides of a sine wave; and significant changes in frequency happen with each click of the Feedback/Bias switch. Capable of 39db of boost, the Colored Boost can easily range from gentle sustain to screaming vintage.

The Chandler Limited RS660 Compressor builds upon the technological advancements that began with the historic EMI RS124 and Fairchild 660 compressors used at EMI’s Abbey Road Studios during the 1960s, and distills them into a refined and elegant compression circuit…that is the ‘RS660 Compressor’. Rather than a reproduction of existing equipment, the RS660 Compressor stands apart and represents a path forward in the recording engineering development department. Built around the 6386 vacuum tube, the RS660 Compressor is meticulously tuned for a sound, and the result is a more efficient means to achieve the desired characteristics of the historic 660 and beyond. Capable of taming an array of dynamic sources from sensitive vocals to explosive drums, the RS660 Compressor and limiter is at home alongside the historic units from which it was hewn and adds to the modern engineer’s cache of analog signal processors. The Chandler Limited RS660 Compressor is a handmade, mono/linkable, transformer-balanced valve (vacuum tube) compressor and limiter, packaged in a dual rack space configuration with an internal power supply. The Chandler Limited EMI Abbey Road Studios RS660 Compressor’s feature-set includes: Input, Output, Time Constant, THD, Comp, Limit, Link and selectable Output Impedance. Stereo matched pairs and stepped I/O controls are optionally available.

Building upon the popularity of the company’s acclaimed TG2 Pre Amp / DI, the TG2-500 delivers the classic sound of the EMI TG12428 pre amp used in EMI/Abbey Road recording and mastering consoles in the late 60s and early 70s—in the company’s 500 series module form factor. Using the identical TG2 circuit, transistors, and transformers, the TG2-500 delivers 10 – 60 dB of gain and uses a coarse gain control and a fine gain control as found on EMI consoles. The unit provides 300 and 1200 Ohm input impedance as on the TG2. Equally important, the Chandler TG2-500 delivers frequency response identical to the TG2. Equally notable, the TG2-500 has the same high frequency bump and mid forward tone that users enjoy with the TG2, along with the warmth inducing distortion which contributes to its sound. The end result is a creamy, smooth tone with a surprisingly open, clear top end. The sound, as explained by many users, has the ‘warmth and punch’ of the Neve, but with a nicer, expanded top end.

The Germ 500 MKII is an updated version of our original Germ 500. This unit has an improved faceplate layout and nicer look. It uses classic germanium transistors in all class A, transformer balanced circuits. We have also updated the power on the MKII so there no known power-up issues with current lunchboxes and rack systems. The Germ 500 MKII is our well-known Germanium Preamp adapted for 500 series racks. We use the same transformers and amp blocks to assure the sound is consistent with our rack version.

The Chandler Limited TG Microphone Cassette is a full-featured mixing console channel strip, incorporating elements of the historic EMI/Abbey Road Studios TG12345 recording and mastering desks of the late ‘60s and ‘70s. TG MICROPHONE CASSETTE Chandler Limited’s critically acclaimed TG1 Limiter, TG2 Pre-Amp, and Curve Bender EQ, each known for their remarkable reproduction of the EMI TG sound, have been combined to form the ultimate TG Microphone Cassette reimagined to work in a modern recording studio context. PRE-AMP The pre-amp section of the TG Microphone Cassette makes use of the Chandler Limited TG2 pre-amplifier based on the vintage EMI TG12428. The TG2 pre-amp section includes switchable coarse and variable fine gain adjustment controls for up to +70db overall gain, selectable LINE, DI, 48V phantom power, phase reverse, and switchable rumble filter (low cut.) The TG2 pre-amp section is coupled directly to the Curve Bender equalizer section. EQ The TG Microphone Cassette’s equalizer section is derived from the famed and greatly expanded Chandler Limited EMI TG12345 Curve Bender EQ. The Curve Bender EQ section provides Hi and Low shelf, frequency selectable presence, output control, and bypass functionality. The Curve Bender EQ section is the second stage of the TG2 pre-amp section, and the EQ output control works as a fader would on a console. LIMITER The compressor/limiter section of the TG Microphone Cassette is a special adaptation of the Chandler Limited TG1 Limiter tracing its lineage to the historic EMI TG12413 mixing and mastering console limiters. EMI technical engineers experimented with the use of optos in their audio compressors, and now for the first time ever Chandler Limited introduces the TG1 Opto Limiter. The TG1 Opto Limiter section of the TG Microphone Cassette is patchable apart from the TG pre-amp and EQ, allowing for independent use of the compressor/limiter on other sources. The TG1 Opto is stereo linkable to a second unit via a standard ¼” cable. The TG1 Opto Limiter’s feature-set includes: HOLD, Attack, Release, selectable sharp/rounded knee, output or makeup gain, and true bypass. TG HISTORY In 1968 EMI and Abbey Road Studios changed their recording and mixing consoles from the valve-driven REDD to the transistorized TG12345 desk. The remarkable sonic quality of the new EMI TG12345 transistor recording console with expanded EQ, and for the first time ever, a compressor/limiter on every channel would forever leave its mark on the Beatles “Abbey Road” and Pink Floyd’s “Dark Side of the Moon” albums, as well as recordings by Paul McCartney, John Lennon, George Harrison, and the Rolling Stones. Retired from service in 1983, the TG desks were built by EMI for their studios and were never commercially available.

The Chandler Limited TG2 is a recreation of the rare EMI TG12428 pre amp used in EMI/Abbey Road recording and mastering consoles used in the late 60's and early 70's. The sound was used on many famous recordings done at Abbey Road including The Beatles "Abbey Road" and Pink Floyd "Dark Side of the Moon." The amplifiers were also used in many EMI circuits of the time. Our version was remade from original design notes and circuit board drawings, provided by Abbey Road and EMI to ensure extreme authenticity! This pre features the same discrete transformer balanced amplifiers as the TG series limiter and offers a creamy, smooth tone with a surprisingly open, clear top end (dare we say nicer than Neve....) The sound, as explained by many users, has the Neve "warmth" and punch, but with a "nicer" expanded top end. In fact the unit does have a small rise in its top end frequency response and some warmth inducing distortion which contribute to its sound.

Chandler's newest series of units starts off with the GERMANIUM pre amp. A completely new design by Chandler Limited designer Wade Goeke that uses classic germanium transistors in all class A, transformer balanced, circuits. The use of germanium devices opens a whole new sound palate not found in any pro audio equipment currently manufactured. These incredibly smooth sounding transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI ( TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium transistor. The GERMANIUM series runs on +40 volt power, high current, and has a huge +34 output before clipping. The sound is warm and smooth as with many vintage style circuits, but you'll find a whole new world of smooth here as well as a sound that settles in perfectly to your tracks without fighting. Add these new circuits to Chandler's new transformer line that combines the best parts of our favorite trannies, St Ives and Gardners, into new great sounding input and output transformers.

The Chandler Limited EMI Abbey Road Studios ‘TG Microphone’ is a solid-state large diaphragm condenser microphone. Continuing the rich tradition of innovation, the TG Microphone is unique in its feature-set and as the name implies, the sound is TG. The TG Microphone’s unique on-board EMI ‘Tape Equalizer’ section combined with its ‘Dual Tone System’, dedicated PSU and other features create an extremely flexible microphone capable of rivaling scenarios where the FET47, C414, U87, and U47 traditionally have found favor. The Tape Equalizer is adapted from the NAB/IEC tape equalizer facility found on vintage EMI TG mastering desks, and applied to great effect in the TG Microphone. Historically used to compensate for tapes played back on machines of the opposite standard, the repurposed tape equalizer allows the engineer to sculpt the sound at the source in lieu of external processing. The microphones shaping possibilities are further expanded when the Tape Equalizer is combined with the selectable 90/50 Hz Low-Cut filter. The ‘Dual Tone System’ modifies TG Microphone’s input and extends its flexibility to capture a wide range of sources. System ‘A’ is TG mid forward, while the alternate ‘B’ voicing takes extreme SPLs and is at home wherever a FET47 would be the choice. The TG Microphone relies on a dedicated power supply (PSU). The use of a dedicated PSU, rather than 48V phantom power is integral to the TG Microphone’s larger than solid-state sound. Other features include: cardioid and omni patterns, and 10 dB pad. Shockmount, 25’ Mogami 4-pin mic cable, dedicated PSU, and wooden case are included. TG HISTORY In 1968 EMI and Abbey Road Studios changed their recording and mixing consoles from the valve-driven REDD to the transistorized TG12345 desk. The remarkable sonic quality of the new EMI TG12345 transistor recording console with expanded EQ, and for the first time ever, a compressor/limiter on every channel would forever leave its mark on the Beatles “Abbey Road” and Pink Floyd’s “Dark Side of the Moon” albums, as well as recordings by Paul McCartney, John Lennon, George Harrison, and the Rolling Stones. Retired from service in 1983, the TG desks were built by EMI for their studios and were never commercially available.

The TG Opto for 500 Series is a relative of the TG1 Opto, found in Chandler Limited’s TG Microphone Cassette, the TG1 Limiter and Zener Limiter, and traces its lineage to the historic EMI TG12413 limiters found on the TG12345 mixing and mastering consoles of the late ‘60s and early ‘70s. EMI’s transistor based TG12345 recording consoles helped shape the sound of the Beatles’ final album, Abbey Road, which was notably richer sounding than the band’s earlier work, and Pink Floyd’s “Dark Side of The Moon”. The Chandler Limited TG Opto compressor is a handmade, fully discrete, mono, dual space module, designed for the 500 Series format and includes controls for selectable sharp and rounded knees, continuous input, output (makeup gain), attack, release, and true bypass. The attitude of the TG Opto is one of two personalities, each actuated by the selectable sharp and rounded knee types. In sharp, the TG Opto is capable of explosive drum sounds, and set to rounded, it’s easily suited to scenarios where compression is required to be less obvious. The continuous control-set affords the ability to fine-tune compression to respond to an array of sources and create a variety of tones. Together with the Chandler TG12345 MKIV EQ and TG2-500 preamp the TG Opto compressor creates a classic EMI TG console channel in a 500 Series rack. NOTE: Add the following disclaimers on product pages. Chandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios. Chandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD and RS and their associated logos are trademarks of EMI (IP) Limited.

The GERM Comp uses the same all class A amp found in the GERM Pre and Tone Control and is transformer balanced in and out. The Compression circuit uses a FET gain reduction element but with the tricks and flexibilty of all the GERM units. Some of the most notable additions include a WET/DRY mix (for "submixing" tracks within the comp), COMP CURVE (which selects the knee using various diode combinations), CLEAN/DIRTY COMP, and SIDECHAIN FILTER. Many of the GERM Comp parameters have been purposely set by studio use and listening, not by over analysing them with test gear. The result is a musical powerhouse for ready for tracking, mixing, and mastering. The GERMANIUM series runs on +40 volt power, high current, and has a huge +34 output before clipping. The sound is warm and smooth as with many vintage style circuits, but you'll find a whole new world of smooth here as well as a sound that settles in perfectly to your tracks without fighting. Add these new circuits to Chandler's new transformer line that combines the best parts of our favorite trannies, St Ives and Gardners, into new great sounding input and output transformers.

The Chandler Limited Mini Mixer is the culmination of Chandler's experience working with many types of vintage, discrete circuits. The Mini Rack Mixer traces its lineage back to several types of these amplifiers developed in the 60's and 70's that have been Chandlerized for modern usage. Each Channel of the 16x2 Mixer is transformer balanced and driven by the New Chandler Line Amp, which borrows from Chandler's other products but has been redesigned for use in this mixer. The Mini Mixer is jam-packed with discrete amps and classic sound, 20 discrete amplifiers and 22 custom wound transformers in the unit, and delivering all the punch and tone you need for todays digital environment. In addition to the mixer section, the unit has a full featured Control Room section including Talkback, Speaker switching, Mute, Mono, Dim, External input (also used as an insert point), and separate Control Room and Stereo Bus outs. Mixers are easily expandable to 32 channels or more.

All Chandler Limited units require an external power supply. This avoids noise and hum interferences. The PSU-2 is intended for use with the Mini Rack Mixer Series.

The Chandler Limited RS124 Compressor is a recreation of one of the most coveted audio valve compressors of all time, the legendary EMI/Abbey Road RS124, reimagined for use in the modern studio environment. First designed in 1960 by Abbey Road Head of Techncial Bill Livey, Deputy Head Len Page and seasoned EMI Audio Designer Mike Batchelor, the Abbey Road RS124 compressor is one of the most coveted pieces of recording gear ever developed. Born out of the inadequate ALTEC 436Bs acquired by EMI in the late 1950s for Abbey Road Studios, the RS124 compressor is most closely associated with recordings made by The Beatles at Abbey Road Studios. Present on virtually every Beatles session, the RS124 left its remarkable signature across most of the catalog. The RS124's undeniably smooth character and ability to tame transients without muffling the sound at steep compression levels, quickly became popular with Abbey Road Studios engineers and widely used throughout the now historic studio, for tracking, buss compression, mixing, and mastering. They where so integral to the recording and mixing process that a pair can be seen in almost every control room photo in Abbey Road Studios during the 60s period. The RS124, a “variable-mu” compressor circuit, was built for use at Abbey Road Studios, and was never commercially available until now. The Chandler Limited RS124 Compressor harnesses the sound and personalities of Abbey Road Studios’ favorite historic RS124 Compressors (Ser. No’s 60070B, 60050A, and 61010B) still in use at the famed studio to this day, all in a single unit. Along with features traditionally found on the original counterparts, Input control, Output attenuation, ‘Recovery’ (release) control and the unique ‘HOLD’ setting, the Chandler Limited RS124 Compressor includes modern facilities such as adjustable attack, selectable output impedance, and a special twist, dubbed the ‘SuperFuse’. The RS124 brings home the sound of a legend, reimagined for the modern era, today.

Chandler Limited’s REDD.47 microphone pre-amplifier is a recreation of the original valve line amplifiers used in Abbey Road Studios’ heralded and rare EMI REDD.51 recording consoles circa 1959-1968. Designed as a central component to the EMI REDD.51 recording console, the original REDD.47 line amplifier was used to amplify virtually every stage of the audio path (mic inputs, line inputs, echo sends and monitors). The REDD.47 lent its unmistakably punchy, aggressive character to music recorded at Abbey Road Studios between 1964 and 1968, including many tracks by The Beatles. The Chandler Limited REDD.47 pre-amp offers many additional benefits to the original design including increased gain, allowing a range of tonal options from pristine clean sound to classic rich, saturated tone with up to 2% harmonic distortion before clipping. The Chandler Limited REDD.47 pre-amp easily reproduces the distortions heard on The Beatles’ ‘Revolution.’ Chandler Limited’s REDD.47 tube microphone pre-amplifier delivers the legendary sound of Abbey Road Studios’ ‘Holy Grail’ pre-amp, with extra features to meet today’s recording studio standards.

The Chandler Limited REDD Microphone is a large diaphragm tube condenser microphone, combining mic and preamp into a single, beautifully handcrafted professional recording device. Featuring the vacuum tube based REDD.47 Mic Amplifier circuit directly coupled to a custom handmade premium platinum membrane capsule, the REDD Microphone can be used with or without an external preamplifier. This unique microphone design provides the shortest possible distance between the two most important elements in the recording chain – delivering a larger than life full-bodied sound, with silky smooth top-end. The Chandler Limited REDD Microphone was designed to handle a variety of source materials, including: vocals, strings, piano, drums, bass guitar, electric and acoustic guitars. Features available from the microphone body, include: REDD.47 Mic Amplifier, providing nine gain selections, from +4 to +33db in the ʻ NORMʼ position, extended gain and punch in ʻ DRIVEʼ mode for more tonal and coloration possibilities, switchable Cardioid/Omni patterns, 10db Pad, and Phase reverse. Continuous output control and low-contour feature are accessible from the high-quality external power supply. Shockmount, 25ʼ Mogami microphone cable, PSU, and custom molded flight case, featuring high-density rigid foam, are included. Continuing in the rich tradition of innovation at EMI, dating back to the early 1930s with Alan Blumlein, the father of ʻ Stereoʼ , the companyʼ s first coil microphones, velocity ʻ ribbonʼ mics and the “Blumlein pair” technique, Chandler Limited and Abbey Road Studios introduce the first EMI badged microphone in over a half century, the REDD Microphone. Designed by Chandler Limited Founder and Chief Designer, Wade Goeke, the patent pending REDD Microphone represents a shift in traditional microphone design, bringing together historic circuitry and the heralded EMI REDD.47 preamplifier sound in a new and unique way. Visually, the aesthetic is unmistakably classic, an ode to a gilded age of audio; however, the REDD Microphone is not a U-Type clone or derivative of any other microphone. Rigorously tested at Abbey Road Studios on a variety of sources and against some of the most famous and classic microphones in recording industry history, the REDD microphone excelled.

The Germanium Drive is really a germanium pedal like none you've used before. It has all the tone and color you would expect from germanium but none of the mud and none of the fat - only an intense colored germanium tone. This pedal was inspired by our Germanium preamps and our work with other germanium amplifiers, but has even more to it. The five feedback selections on the Germanium Drive modify the tone, harmonic distortion and clipping of the pedal and offer a nice range of uses from tighter, lightly driven to slightly fuzzy to full on germanium hell!

The REDD.47 microphone pre-amplifier, originally introduced as the all-purpose amplifier for EMI’s legendary REDD.51 mixing console, quickly earned ‘holy grail’ status among engineers for its uniquely punchy and aggressive sound. How does one recreate the unique sound of vintage EMI studio equipment? By meticulously integrating original vintage parts with Wade Goeke’s renowned designs. The result is the new REDD.47 Special Edition Pre Amp, a testament to years spent sourcing and collecting authentic components. Wade has incorporated these rare parts into a pre amp that authentically captures the unparalleled sounds that defined an era. Designed for a lifetime of use, this unit is not only a sonic powerhouse but a lasting investment. The REDD.47 Special Edition Pre Amp is built with new old stock and vintage parts from the ‘60s and ‘70s. Each unit contains 53 vintage parts. Featured resistor types include: Piher resistors which were used in vintage EMI and Neve gear as well as in Marshall amps. ISKRA resistors found in early Marshall and other English-made amps; and German-made Beyschlag and ERO/Roederstein that were used by many UK and European manufacturers of the time. Featured vintage capacitors include: Siemens and Wima found in vintage EMI and Neve units; German-made ERO and Roederstein that were used in many European designs; and the famous and exceptional sounding Mullard ‘tropical fish’ capacitors. Beyond its internal components, the REDD.47 Special Edition features a new layout that mirrors the iconic look and feel of the original REDD console cassettes, complete with our new EMI lighted sign, a hallmark of many vintage EMI consoles. While retaining the core REDD.47 circuit path, this Special Edition comes with the addition of the Input Sensitivity, Line Input and Bass Lift sections from the REDD.51 console.