The GRANDCHILD 670 ist first ever stereo Vari-Mu compressor in a 2 slot 500 series module, based on the renowned Fairchild and Heritage Audio’s own HERCHILD model 670. Heritage Audio has undertaken an unprecedented engineering effort to encapsulate all the charm of the HERCHILD 670 into a more affordable unit. The GRANDCHILD 670 is a great option for mixing and mastering. With 4 NOS tubes and 3 transformers at its core, the GRANDCHILD 670 adds warmth and punch to any track with virtually no noise or distortion. 5 Attack and Release times make it even more flexible than in the original unit. Progressive DC Threshold, combining control of the ratio and the knee allowing a wide range of dynamic processing, from very smooth transparent compression to hard limiting. Enjoy the sound that has blessed thousands and thousands of hits over the years. Feel the warmth as it embraces your tracks and makes them proudly stand out from the rest. The GRANDCHILD 670 has the soul of its predecessors, Fairchild and HERCHILD 670, ensuring that the best tube compression that has influenced hundreds and hundreds of classic tunes is now available as a 2 slot 500 series module!

Since its release in 1998, the Manley Massive Passive has shaped the sound of countless productions around the world. Numerous renowned producers and recording and mastering engineers from around the world use it to add their own signature sound to their productions. To celebrate the Massive Passive's 25th anniversary the XXV Anniversary Edition features an attractive cobalt blue face plate equipped with a custom laser engraved artwork and is limited to 100 pieces worldwide. Manley's Massive Passive is an equalization monster. You can expect the best strengths of Pultec-style equalizers as well as choice console, parametric, and graphic EQs - all the radical shaping you'll need for the most demanding of sessions as well as the delicate, subtle shadings needed for vocals and mastering. The 2-channel, 4-band Massive Passive features a passive tone-shaping portion of the equalizer design and uses only the best components, for its ultimately huge, high-headroom performance. Premium design with passive components As you can expect from Manley, no corners were cut with the design of the Massive Passive, and there's no unnecessarily complicated circuit - Massive Passive features basic passive components and uses only metal film resistors, film capacitors, and hand-wound inductors to sculpt the sound. And thanks to its more natural design, you can expect more natural, organic tone. 2-channel, 4-band EQ for everything from the radical to the subtle The Massive Passive equalizer excels at everything from the drastic shaping needed for tracking to the most subtle of shadings needed for affecting vocal tracks or the whole mix. Although different in nature, its 2-channel, 4-band design offers a tremendous amount of sonic sculpting, incorporating the best strengths of Pultecs, choice console EQs, graphic equalizers, and parametric equalizers - but it doesn't throw color all over the audio. Get creative with it, or get logical and surgical with it - the Manley Massive Passive is ready to make the most of whatever you toss its way. Five steep highpass filters and four steep lowpass filters The Manley Massive Passive is packed with five highpass filters and four lowpass filters, and you can bypass either or both. The filters are steep, so you can pull out the junk without touching the real music. It's also great-sounding when combined with other bands. Ultimately, Manley went for what's useful when designing the Massive Passive, not what's standard - it's a welcome design departure that produces seriously massive results. MANLEY POWER® Power Supply The MANLEY POWER® power supply is an innovative design developed specifically for Manley Labs, specifically for High Voltage vacuum tubes, and specifically for audio by the world expert team in this technology led by Bruno Putzeys. Proven reliable and sonically superior in the Manley CORE, this power supply provides 300 Volt DC rails to run the vacuum tubes, beefy 6 Volt lines to power them up, along with several other voltage rails for the phantom power and various solid-state control voltages. High Voltage = High Headroom, folks. You will not get near this sonic performance with in any 500-series design. Trust us. This is Massive audio excellence which starts with this superior power supply. All lines are importantly regulated, low impedance, efficient, and super-quiet in this low radiating high frequency design. The universal mains input accepts any voltage or frequency from anywhere in the world making travel with the Massive Passive a breeze.

The Drawmer 1977 is a comprehensive channel strip with an ultra clean preamplifier, a three band parametric equaliser, a soft knee compressor and a variable saturation stage. Pristine & Versatile Pre-Amplifier The pristine preamplifier not only incorporates mic, line and instrument D.I. with 66dB of stepped gain, allowing ultra clean, transparent and precise recordings, sweeten up dull audio or perfect guitar sound, but also brings out the best of every mic by matching the input impedance with the mic. Whether high-end, ribbon or even ordinary mics will benefit when the impedance is in the sweet spot. Precise Parametric Equaliser with Variable Bandwidth. The 1977 incorporates a true 'parametric' equaliser which takes it’s inspiration from 1970’s-era analogue gear, with three bands of fully variable frequency control and cut and boost of +/-12dB's and, in addition, a fully variable bandwidth control of the mid band, making it incredibly versatile and capable of modifying everything from subtle fine tuning to tone sculpting problematic recordings, and, of course, anything in between. Silky Smooth vintage Compression. A full featured compressor allows to control the dynamics of the recording and Drawmers trademark 'Big' and 'Air' modes help to preserve the very deep lows and enhance the sparkling highs that lesser compressor's remove. Clean, Warm or Overdriven with totally controllable Saturation The compressor section also incorporates variable harmonic Saturation with a choice of 3 styles, that will allow warm up recordings with complete precision. Switch the Order The engineer has control over the order of the signal path to operate as either Gain-Equaliser-Compressor-Output or as Gain-Compressor-Equaliser-Output, with each creating a distinctly different tonal quality and coloration. Get the correct level first time The output section includes a wet/dry mix for parallel processing that allows to easily dial in how much EQ, compression and saturation is used via a single knob, plus an output fade control to either add fade outs or to boost the level to match high end audio interface audio input levels, along with a large backlit VU meter for accurate monitoring. And finally, a Preamp Direct switch that bypasses the EQ, compressor and saturation completely to provide an ultra clean microphone output. Vintage brought to the modern era The result of all these features is a modern take on vintage gear that gives an incredible degree of control over the clarity, tone and warmth of every recording, helping to capture perfect audio every time.

The LANG PEQ-2 Program Equalizer has been a powerful secret weapon for many during the last 60 years and is now available to everybody once again thanks to the rebirth of LANG Electronics Inc. acquired by Heritage Audio. The PEQ-2 is a very high quality passive equalizer with inductors and build on the same patented Western Electric design, as the ubiquitous Pultec program equalizers, but thanks to the solid state output amplifier the PEQ-2 offers a sharper, tighter response and makes it ideal for mix bus and mastering use. A few important differences between the two legends are: The PEQ-2 has nearly twice as many frequency options to choose from… 26 compared to the Pultec´s 14. The low end is infinitely more controllable as the LANG is able to Boost and Cut at different frequencies, unlike the Pultec. There is also a very useful 20 kHz option in the High Peak Boost section that can really be helpful. Lucky Engineers who used the old PEQ-2 stated that they actually prefer the PEQ-2 to the Pultec and have become their secret weapon and totally rely on them to produce their trademark sound, including Allen Sides, Andrew Sheps and Joe Chiccarelli just to name a few. While having a very simple and easy layout, the PEQ-2 can be deceiving as it is actually capable of some very extreme processing all while maintaining the musicality of your signal. With independent controls for Boost and Droop (Cut) for both the High and Low bands you can quickly transform your material in interesting, creative ways that you have almost certainly never considered before and are not even possible with the Pultec design. Once you’ve tried molding your mixes with these you’ll wonder how you ever managed before. Not only does the PEQ-2 offer Low Shelf boost and cut control and High Shelf cut, but it also has a High Peak Boost with a completely variable Q (Bandwidth) setting that spans from Sharp to Broad to cover any needs. What’s more, the range of Boost actually varies depending on what your selected Bandwidth setting is to offer a very smooth and natural response at all times… Very clever indeed. The ability to boost and cut at the same or similar frequencies produces exciting new equalized response curves. Experimentation is key, but you will quickly realize just how powerful this feature can be. Within no time the PEQ-2 will most likely become one of your most used studio tools. The sheer power if offers with the ease and speed of achieving results is impressive…and addictive. Heritage Audio is on the scene to make this nearly lost treasure available to any and all. After months and months of studying the originals, the PEQ-2 has been reborn and is back by popular demand. Like all the Heritage Audio products, the LANG PEQ-2 comes equipped with custom audio transformers at the Input and Output to make sure you always have a powerful, solid, noise-free signal to work with. Lang Electronics Inc. was famous for providing very high quality equipment at reasonable prices and Heritage Audio is intent on maintaining that philosophy.

The Heritage Audio TUBESESSOR is an optical tube compressor with an absolute sweet, warm and natural dynamic control possible, but also the possibility to spice up the sound up on occasion. Tube compression, especially based on an optical design, is generally considered to be warmer than VCA and FET designs, and it tends to provide a very pleasant, more natural, smoother result. This has made it the preferred choice for seasoned engineers and producers that want to provide a very transparent control over a signal while offering a hint of enhancement but keeping true to the original tone. For this very reason optical tube compressors are usually the first thing one reaches for when dealing with critical vocals and bass signals. The TUBESESSOR is the perfect option for this. Analog excellence is achieved by combining an all tube-based amplification stage with an outstanding UTC A10 input transformer replica by AMI, as well as a custom all-silicon steel output transformer. With an elevated internal operating voltage you can be sure the TUBESESSOR will heat up any signal while also maintaining its character and vibe. No starved plate circuits here! Never has dynamics control been so easily obtainable while at the same time so invisible. Even with generous amounts of gain reduction being applied anything processed with the TUBESESSOR still maintains its clarity and depth. Thanks to the TUBESESSOR´S three unit high front panel you´ll find plenty of room to adjust the large Herchild-style knobs making it a breeze to achieve the desired sound. No cramped spaces here, just plenty of space to easily and quickly adjust the settings to taste. Now, we all know it would not be a Heritage Audio product without our expertise and passion channeled into a couple key features that take the TUBESESSOR to another dimension. First of all, for those times when a bit more texture and bite is called for, there´s nothing better than a little saturation…or maybe a lot. The innovative TUBE SATURATION section takes full advantage of a creamy sounding NOS Raytheon double triode tube to add in just a pinch of aggression or fully transform the signal into something ready for war. It, importantly, works in tandem with the custom output transformer to produce the right harmonic content. There are 4 available settings that vary from CLASSIC, no saturation, all the way to HOT, a heavily treated signal. This feature alone opens up a ton of possibilities for drums and other instruments vastly expanding the TUBESESSOR´S uses. And thanks to Heritage Audio´s use of an audiophile-grade Psvane dual output triode in a totem pole configuration, a solid output stage is guaranteed all while allowing much higher headroom than other tube compressors, whether vintage or modern. Secondly, there are also five internal sidechain filter settings to choose from. This is the exact same filter section that helped the SUCCESSOR obtain its legendary status. Two of the options make sure the compressor is not being unfairly overpowered by lower frequencies and the other three are frequency specific options for extra creativity. Continuously adjustable ATTACK & RELEASE controls in addition to a FIXED mode and a combination of the two will provide all the necessary settings possible, allowing you to mold your signal exactly as you´d like. A huge, attractive custom VU meter for monitoring either Input, Output or Gain Reduction guarantees you´ll always be informed with a clear reading of exactly what is happening. Everything you could possibly require to achieve a top-notch professional recording. As is the case with other tube offerings from Heritage Audio, the company has sourced NOS tubes for a lifetime, making sure your investment is safe and sound.

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 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.

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.

The 1972 Dual Mic, Line & Instrument Pre-Amplifier has been developed to make it ultra easy for you to capture perfect recordings every time. The 1972 gives you the ability to record pristine audio from a variety of sources and especially makes the most of the multitude of microphones that you find in the studio, from budget to high-end dynamic and also ribbon mics. Uniquely it has added features that help out in difficult to record situations that are not found on other preamplifiers. The 1972 uses the latest THAT Corporation technology in the two independent mic preamps to provide ultra clean, transparent and precise recordings, that can be processed at a later stage using your favourite methods, be it compression, E.Q., saturation, valve, transformer or tape. Each channel is capable of 66dB of stepped gain, with an additional +/-12dB’s trim at the output, and incorporates switchable mic impedance for accurate mic matching to bring out the best from any microphone used, and also provides a way to “sculpt” the sound of passive dynamic, and especially low-impedance ribbon microphones. Capture Difficult Sources As well as standard features that you will find on most preamplifiers, such as phase reverse, the 1972 also has a wealth of tools that help when recording difficult sources, making it possible to get the best quality recording with ease. These include fully variable LoCut and HiCut controls to allow you to tune into recordings and remove superfluous signals in the low and high frequencies, removing rumble and hiss with ease. In addition the Shape feature allows you to bring out the bass or treble using a subtle tilt EQ. Record Very Low Signals with Ease A unique feature that has been developed by Ivor Drawmer and currently only available on the 1972 is the Lift control. Lift is essentially a low level dynamic gain module which has no effect on signals above 0dB. This makes it possible to record very quiet signals in a transparent and natural way without distortion and clipping taking place on the louder passages, and is especially effective for very dynamic signals, finding great use in recording piano, and on all vocals, including speech, and for capturing ambiance. Be Creative using Variable Mic Impedance You may have encountered the general rule that the impedance of the preamp input should be 10X that of the mic to get an input impedance that is appropriate for the mic and to avoid loading the source, however, it is less known that mismatching can create some interesting tonal differences that can be used more creatively. The 1972 has 3 settings per mic input: 200, 600 and 2400 Ohms, making it easy for you to explore the various tones. The result will depend on the microphone used, as the tonal changes will be obvious with some mic’s but others will hardly alter, and on the material you're working with.

The MP-2NV (two channel mic preamp) greatly modernizes and improves classic British design. This single-rack-space pair of preamps offer the same definitive sonic fidelity and expert craftsmanship as all Great River products, with the ability to fine-tune gain effects like 1970's-era 1073's. Transparency and vintage harmonic structure are both achieved with NV-Series preamps. The MP-2NV achieves 'new classic' performance status with two discrete Class-A gain stages (the dual gain-stage meters are a Great River exclusive), a front-panel DI input jack which is routed via FET through the input transformer (also unique to Great River preamps) for must-hear-to-believe sound from all Hi-Z instruments, and a discrete high-current Class-A big iron transformer-coupled output amplifier. The MP-2NV is a fundamentally important audio tool that brings out the best in every microphone and instrument.

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 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 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.

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 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.

The Chandler Limited TG1 is a recreation of the classic EMI TG12413 Limiter used in custom EMI and Abbey Road recording and mastering consoles from the late 60's. The TG Limiter was originally designed to be like the Fairchild 660/670 which was loved by many EMI engineers, including Geoff Emerick, but ended up with a very special sound all its own. These rare pieces were never commercially available and only EMI owned studios had access to them. Our version has been remade from the original design information and circuit board drawings as provided by Abbey Road and EMI to ensure extreme authenticity! TG equipment was used on many classic records and this Limiter was featured on every channel of TG consoles used to record The Beatles Abbey Road, several Pink Floyd records including Dark Side of the Moon, Paul McCartney, and the Rolling Stones. The Limiter/Compressor features an all discrete circuit with transformer balanced input and output. The limiting element is a rarely seen diode network that produces smooth, pleasing distortion. The warm open sound, often compared to a Fairchild 670 set to stun, is very audible and squishy sounding while maintaining its clarity and high frequency response.

70 years after it’s creation, the Baxandall EQ gets a definitive update. Baxandall equalizer’s topology, introduced to the public by Peter Baxandall in 1952, was a very ingenious way of obtaining high and low shelves with boost and cut option without using expensive rotary switches. This affordable circuit was soon adopted by hi-fi and console manufacturers for its simplicity, where parametric options aren’t needed. Heritage Audio has successfully replaced the Baxandall topology with a functional equivalent — a much more musical one, implemented as a one rack space, master bus/ mastering type unit. The Stereo Asymptotic Equalizer, affectionately known as Symph EQ, takes its name from the shape obtained by its shelf curves; where the boost or cut amplitude grows up until the asymptotic value is reached, keeping the ultra highs and sub lows always controlled. Its sound can only be described as tight, sweet, and natural, and its use of parallel equalizing to obtain the desired response curves makes it to have exceptional low phase deviation and artifacts. Shelving with surgical, but musical precision. A smart circuit layout allows for a maximum boost/cut of 10.5 dB in 0.5 dB steps. The main rotary switch sets 1dB steps whilst the 0.5 button adds half a dB to the main reading. The CUT button turns the boost amount into cut. Six strategically selected frequency choices per band are available (8, 10, 12, 15, 20 and 24 Khz on the high shelf, and 470, 360, 220, 110, 60 and 20 Hz on the low shelf). 2 pole high and low pass filters. In order to keep the sub-low and ultra-high frequency content well under control, further high-pass and low-pass filters have been added on dual concentric rotary switches, at 12dB/octave. 5 frequency choices plus OFF are available on each one (10, 12, 18, 22 and 30 Khz on the low-pass, and 160, 82, 47, 20 and 15 Hz on the high-pass). This is where the magic lives. The Symph EQ would have been an awesome sculpting tool just as it has been described above, but it turns into a monster piece with the following 3 additions: - It features the same exclusive Carnhill input transformers made in Oxford found in the Successor. - Its outputs are driven by 73-type Class-A output amplifiers, built with the same Carnhill St´Ives output transformers as the rest of the family. - Most importantly and, here is where the Symph EQ really shines, it has built in Mid Side (M/S) capabilities. M/S Equalizing cannot be rivaled. Nothing comes close to M/S equalizing a mix. It allows the user to process the center and the sides independently. The benefits of such processing are hard to believe. You can brighten your mix without making your vocals sound harsh, or even tighten the stereo-image’s bass content without making your bass or kick sound weak! This are just a few examples of the Symph EQ M/S power! The response of the Side high pass filter has been made elliptical as in the vintage disk cutters for precise frequency response.

The Heritage Audio Successor is a true stereo bus compressor with matched channels for precise left-right compression and virtually no channel offset. In addition to the single-ended Class A output stage in the style of the legendary 1073 amplifier circuitry, the Successor relies on transformer-coupled, balanced inputs and outputs based on a Carnhill transformer for an additional vintage character. The diode bridge circuit adds 2nd order harmonic distortion characteristics and true vintage tone while eliminating nasty odd harmonic content. Thanks to its modern circuit design, the Successor offers ultra-fast attack and release times never found in vintage designs and allows even FET-style bus compression with significant loudness maximization, without affecting the transients by sound artifacts that occur. Furthermore, the bus compressor shines with versatile sidechain options. Not only the usual high-pass filters are available, but also various peak filters in the mid-band for particularly flexible bus compression. The Sidechain SEND and RETURN connectors also allow external sidechain signals and further external processing of the internal one. In addition, the Successor's rasterized blend control enables parallel compression including the Blend ON/OFF button for direct comparison between wet and dry signals.

Heritage Audio decided to meet the demands of many musicians, producers and engineers and offer and all-in-one package with the Súper 8 to get eight high-quality signals recorded into your DAW with the absolute minimum of fuss. For the first time ever Heritage Audio is introducing a package with eight of our famous 73 style preamps all in just one 2 rack space unit. So this piece is stuffed with all the goodies you´d expect including exclusively designed Carnhill transformers on the Inputs and Outputs and Tantalum capacitors to make sure you get all the juice, vibe and feel from that golden era all while dishing out a very generous 80dB of gain. The Súper 8 Preamps are complete with the features you´ve come to expect. Each channel has a button to activate the 48v Phantom power, a LINE button to prepare the input for Line Level signals, a PHASE button to flip it 180º, and a LoCut button to produce a -3db cut at 80Hz. The first two channels are also equipped with a Lo-Z button which will change the input impedance from 1200Ohm to 300Ohm, a PAD button to reduce the input -20db, our famous JFET D.I. as well as a fully sweepable LoCut filter. Everything you could possibly ask for in a professional preamp. So there are eight channels of our famous high-quality 3 Stage Class A fully transformer balanced analog input and outputs, always available. And what might be the best part of it all, we have incorporated a premium analog to digital converter to send your signals on to your DAW as easily as possible. This high quality, premium ADC is 24Bit and offers selectable internal sampling frequencies variable from 44.1k to 192k in addition to being externally syncable by WordClock. Three different digital output options are available; ADAT/SMUX, SPDIF and AES/EBU to make sure all of your needs are taken care of. Now it´s possible to turn your wallet-friendly audio interface into a quality, professional recording rig. One of the neatest features of the unit is the ability to individually, per channel, decide whether the signal converted and sent to the DAW comes directly from the corresponding input(preamp) or from an external source. What this allows you to do is send your preamped signal out to a processor and then return it to the unit so it can be converted digitally and sent along to your DAW. This can really come in handy if you need a bit of EQ or compression for more control before the digital conversion. This actually means you have 2 selectable sources for each of the eight converters, a seemingly small detail that can really make a big difference when you´re knee deep in the mix or session and don´t have time to spare. Another great possibility is the option to also use the Súper 8 as a stand-alone converter. When all you need is a top-of-the-line analog to digital converter, look no further, you already have it right here. All the inputs and outputs are provided on gold plated XLRs with LINE inputs and outputs also being offered on DB25 connectors for convenience. The alternative 8 returns for the converter are also available on a DB25 connector. Then, of course, are the format specific connectors for ADAT ( two of them for SMUX possibilities) and BNC WordClock Input and Output, as well as a 9 PIN connector to access either the SPDIF or the AES/EBU conversion.

The Drawmer SL22 Sound Level Limiter is the perfect tool to protect speakers, the hearing whilst listening to headphones or to conform to Noise At Work Legislation. By eliminating the possibility of ’unauthorised’ excessive sound pressure levels it offers strict level control and tremendous peace of mind to users in three distinct areas: 1. Hearing Protection Conform to Noise at Work Regulations by controlling the level of the dedicated headphone output to prevent hearing damage to anyone wearing headphones on a regular basis - DJ’s, sound engineers in recording studio’s, students listening to audio via various media. Additional connectors on the rear can be used for remote data logging or to trigger external warning devices. 2. Conform to Regulations The precise calibration and volume controlling of the SL22 allows venues, such as clubs, theatres, pubs, schools, universities etc. to conform to Local Authority Noise Regulations. The need to conform to Local Authority Regulations is absolutely imperative, none more so than in the area of noise control. Many products are on the market that claim to do the job but these often take the form of a crude switch, either turning off the power or disconnecting the speakers, both of which are very disruptive in any event. The SL22 is different, it controls the volume, but in a transparent, unobtrusive way, that you will struggle to notice. Not only is it responsive and versatile but does so in a secure manner meaning that tampering is extremely difficult. Other features include remote dimming of the volume, as well as the connection to a fire alarm system, reducing the volume automatically during a fire and allowing the alarm to be heard more clearly. 3 - Speaker Protection Prevents the damage to speaker chassis drivers and amplifier electronics by catching unwanted signals such as ‘bangs’ and ‘pops’. Whether in a large arena with a PA system and multiple speakers, or a bar or theatre, there are few things more troublesome than blowing a speaker cone or amplifier electronics. The SL22 has been specifically designed to transparently catch those unwanted SPL’s and protecting the gear. Not only will it save money by reducing the cost of speaker repairs, but also reduce ’call-out’ costs of sound system service/repair engineers, lower sound system ’down time’ and the consequential loss of income, as well as the reputation of the venue.

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 RK-1 can mount one ME-1NV or one EQ-1NV in a standard 19 rack.

The RK-2 can mount a pair of ME-1NVs, a pair of EQ-1NVs or one of each in a standard rack.

The Royer model R-DB20 is a phantom-powered ribbon and dynamic microphone signal booster and impedance buffer. It increases the level of passive low-output ribbon and dynamic microphones with a minimum of distortion or coloration. Designed for professional applications, the dBooster provides two levels of clean gain boost; 12dB and 20dB, selectable by a front panel switch. The dBooster maintains headroom and gain regardless of load. The Class A input circuitry presents a high source impedance to the microphone, which minimizes loading (damping). This reduces coloration and distortion while at the same time improving headroom. By utilizing the 12/20dB gain switch, optimum balance between gain and headroom can be achieved for a variety of uses. The low-impedance output of the dBooster is an increased microphone-level signal that can drive a digital interface directly or a standard microphone preamplifier. It also minimizes signal loss on long cable runs.