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Alesis MicTube Solo (69431801221...
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Natural tube warmth for any mic or instrument.
Add warm, vintage tone to any mic or instrument with the MicTube Solo preamplifier. Ideal for any recording or live setup, the MicTube Solo features an easy-to-use control layout and one of the most classic sounding, lowest-noise vacuum tubes: the legendary 12AX7. Aside from the tube, the MicTube Solo features a minimized circuit path, so it preserves the essence of the signal coming from the microphone faithfully.
The MicTube raises the level of any mic up to line level, adding as much or as little of the tube's signature sound as you like. Two knobs and four buttons are all you need to optimize the MicTube Solo for virtually any setting. You'll find a -20 dB pad switch for mics with hotter outputs or louder sound sourc...
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Features a custom designed Aphex input Transformer
and a Jensen JT-11DL nickel output-balancing transformer.
Includes 20-segment input meter and 3-position output level switch.
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The J PRE 500 mic pre is inspired by the flagship Aphex 1788A remote controlled preamp used in studios, on stage and in broadcast. They both use the same Jensen JT11K8 nickel input transformer while the J PRE 500 also features a Jensen JT-11DL nickel output-balancing transformer. The single channel J PRE 500 provides affordable access to the legendary 1788A sound.
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The API 512C is a mic/line/instrument preamp designed to provide a low noise, unusually good sounding front end for all types of audio systems. Sonically, it is at the top of the "Mic Preamp List", regardless of price. Offering low noise (-129 EIN) and 65 dB of gain, the 512C includes phantom power, switchable polarity, -20 dB pad and Mic/Line or Instrument selector. Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed in an API LunchBox, Six Pack, 10 position vertical rack, a 2 position horizontal rack, or an API console.
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Préamplificateur mono Classe A pour microphone. Bruit minimisé," headroom" élevé, entrée directe pour instrument et microphone, " sélecteur de gain par sauts de 2dB, filtre de bande passante variable, indicateur VU gros format et témoin LED "peak", inversion de phase et atténuateur (pad), 48v, alimentation externe toroïdale de 150 watts. Mesure 2U, largeur demie rack.
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Préamplificateur mono combiné, haute performance. Préamplificateur à lampes, circuits discrets Classe A, égalisateur paramétrique à 4 bandes, entrées microphone, ligne et instrument direct, entrées et sorties balancées, Indicateur VU gros format. Mesure 2U.
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The MA5 was created to fill the need for a high-quality microphone preamplifier with the characteristic sound of early '70s British Class-A consoles. The re-engineering in the creation of the MA5 stemmed from years of experience restoring both American and British modules, deeply rooted in classic transformer-balanced, discrete electronics. Only the best and most suitable components are used throughout, regardless of cost, to attain the best sound.
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BAE (Brent Avril ) 1023 rackmount
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The 1023 is completely handwired using Carnhill (St. Ives) transformers. It has the exact same mic/line preamp as the 1073, but with significantly more frequencies in the mid and hi sections. Aside from simply offering more frequency settings to play with, these expanded eq sections also allow you to play the mid bell curve directly against the high and low shelves where they overlap. This capability opens the tone shaping possibilities in very interesting and musical ways.
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BAE (Brent Avril ) 1073 rackmount
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The 1073 preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smooths the top end which gives the highs a silky sheen. As well the 1073 compresses transients a little bit. It is a smooth, fat., larger than life sound. An added bonus is to use the DI inputs to fatten samples, synths and mixes since the DI can handle line levels.
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BAE (Brent Avril ) 1084 rackmount
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The 1084 preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smooths the top end which gives the highs a silky sheen. As well the 1084 compresses transients a little bit. It is a smooth, fat., larger than life sound. An added bonus is to use the DI inputs to fatten samples, synths and mixes since the DI can handle line levels.
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. 10 to 65 dB stepped gain ( line pad -25 dB )
. Mic or line level input, and switched bridged-T output attentuator
. Custom wound inductor and input/output transformers
. Pultec type low frequency boost @ 100, 60, or 30 hz
. Inductor high frequency boost @ 16, 12, or 8 Khz
. Twin gain stage design, including the passive Pultec filter circuit
. Relay switching, two discrete op-amps
The CARTEC PRE-Q5 is a high quality transformer based microphone preamp for the API 500 series format that incorporates a passive inductor equalizer, and a balanced output attenuator. The filter circuit is identical to our EQP-1A, but with the extra gain stage and transformers required to create a high performance preamplifier. The output tra...
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The Germanium 500 is a 500-series compatible Germanium preamp. No circuit or transformer changes were necessary to adapt Chandler Limited designer Wade Goeke's original Germanium Preamp/DI into this version. Just like the original Germanium Preamp/DI, the Germanium 500 Preamp/DI 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.
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Chandler GERMANIUM PRE AMP/DI
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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.
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Chandler GERMANIUM PREAMP MKII
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Chandler LITTLE DEVIL PREAMP
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Chandler LTD1 MIC PREAMP/EQ
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The Chandler Limited LTD-1 is a hand wired 10-series equalizer and pre amp that has been handmade using parts and build techniques from the original manufacture of the modules. Grounding, wiring techniques, original transformers, transistors, and inductors and much more attribute to the special sound of these units and have been painstakingly recreated in each LTD-1. We even make our chassis to resemble the old modules- highly polished plated steel
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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!
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The Mike-E from Empirical Labs is a modern digitally controlled Microphone Preamplifier chocked with unusual features to warm and soften the source, along with an excellent compressor/limiter.Mike-E offers an incredible performance transformer-coupled mic preamp, whose noise floor is far below any microphones self noise.The one-of-a-kind CompSat section is an uncompromising compressor and saturator circuit that offers versatile coloring, and classic knee compression.
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Focusrite ISA 430 MK II - PRODUCER PACK PREM...
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The ISA 430 MKII represents the pinnacle of Focusrite's analogue channel strip technology, bringing together all the classic designs in one comprehensive production tool. Augmented with additional features and flavours, alongside unmatched internal routing and connectivity, the ISA 430 MKII enables today's recording professional to enjoy the unique sonic contribution of these heritage designs within one extremely versatile processor. Focusrite's iconic status as the leading manufacturer of channel strips remains unrivalled.
. Classic Focusrite transformer-based Mic-pre with variable impedance and 'Air' feature . Multi format Compressor; switch between Focusrite's transparent VCA circuit and a vintage optical circuit . Unmatched flexibility, incredible variety of insert points, variable si...
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Focusrite ISA ONE - CLASSIC SINGLE-CHANNEL M...
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ISA Series Transformer-based Pre-amplifier . Rugged portable chassis . classic Focusrite microphone pre-amplifier at lowest cost to date . Flexible Independent D.I. Channel . Independent gain control . Output for routing to an amp . Independent XLR output on rear . Switchable Impedance (4 carefully selected input impedances, including original ISA 110 setting, to suit any microphone . Optional Stereo 192kHz ADC . Can feed either sum of the two inputs to the headphones output, or an external stereo cue mix (such as a stereo mix feed from an interface) via two TRS Jack inputs on the rear of the unit . Dedicated Insert Point allows you to place extra processing between the pre-amplifier or D.I. and the optional converter, such as an EQ or compressor.
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Focusrite Red 1 500 Series
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Built in the UK and featuring the original circuit and components used in the first Red mic preamp designs, the Red 1 500 Series Mic Pre offers the
performance of the original Focusrite Red microphone preamplifier in a new, popular format: the 500 series, or "Lunchbox" portable modular
system.
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Focusrite THE LIQUID CHANNEL
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A revolutionary channel strip that can precisely replicate any classic mic-pre and compressor. Combining radical new analog pre-amp technology with dynamic convolution techniques, the Liquid Channel fuses cutting-edge analog design with lightning fast SHARP DSP, augmented by fully digital controls and optional remote software. Rather than creating a similar sound to vintage units, as with modelling devices, The Liquid Channel precisely replicates their sonic behaviour. This is achieved through Dynamic Convolution; the application of a unique, level-dependent set of responses to an audio signal. These measured responses, sampled at numerous levels and with every possible setting combination, are applied to the input stream on a sample-by-sample basis for accurate replication.
. Loaded with...
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Forssell Technonogies Forssell Technologies ...
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In 2000, the model 101 helped fuel a revolution. When people took professional recording into their own hands, it was there with all of the quality and performance of a high-end mic preamplifier, but with a price that made it available to the masses. 8 years later, and the cause moves forward with the newly redesigned m101.
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Preliminatry Information - Channel strip... it doesn't roll off the tongue or smack of a high fidelity recording device. Maybe thats why its taken us so long to build one. But we got over it. All labels aside, our new m103 is a powerful tracking tool for virtually any recording scenario.
It starts with our tried and true m101 transformerless microphone preamplifier circuity. Headroom, detail, clarity, musicality - its all there. Complete with our exclusive ribbon mic mode, a 75Hz HPF and 48V phantom.
The 3 band EQ section is built around single stage parallel tuning architecture, which minimizes circuitry and delivers natural, musical tonal shaping at all frequencies. Controls include a fully parametric mid, with shelving and peak modes on the high and low bands.
The c...
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Presenting the Grace Design m501, our 500 series module version of the venerable m101 mic preamplifier. Now the signature transparency and detail of our circuit designs is available for your 500 series frame.
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Manley Mic / EQ 500 Combo
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The microphone preamplifier section of this unit is based on fully differential topology with its known propensity for cancelling out even-order harmonic distortion components. We teamed this superb and full-featured microphone preamp with the famous EQ 500 passive EQ circuitry coupled to a second differential line-amp to make a stunning combination for field recording or direct-to-tape tracking for which we also provide built-in illuminated VU metering as well as an Insert point for flexible operation with other outboard effect units. (And yes, the Mic Pre and the Equalizer sections can be used completely independently.)
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Primarily intended for use with modern capacitor (condenser) microphones. Now, 40 to 60 dBs of gain, enough for most ribbon mics, are selectable in precise 5dB steps by varying the amount of overall negative feedback on the GAIN switch. This is a very interesting feature indeed, allowing you to change the slew rate (speed), placement, and tonal balance of the sound from mellow and "tubey-er" through to faster, punchier and more aggressive.
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Primarily, it is a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life.
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