System 9098 Mic-amp Equaliser

The System 9098 EQ is a high performance equaliser and preamplifier designed to originate microphone signals of the highest quality and to process signals generally in terms of frequency response. The circuitry is based on the research Mr Rupert Neve put into the early 9098 console and the approach bears many similarities to that used in the 9098.

System 9098 Dual Mic Amp

The System 9098 Dual Microphone Amplifier followed in the footsteps of the early 9098 console, the System 9098 Equaliser and the System 9098 Remote Control Mic Amplifier, sharing many of the same features and of course impeccable clarity of sound.

Pure Path Dual Mic-amp Compressor-Limiter

The Pure Path Dual Mic-amp, Compressor-Limiter (DMCL) comprises two identical closely matched microphone and line amplifiers followed by high/low pass variable frequency filters, dual high-resolution compressor-limiters and a digital output. Output formats are AES/EBU, S/PDIF and optical.

Summit MPE-200 Dual Mic-amp Equaliser

The MPE-200 is the first product in the new Element 78 line of Class A solid state signal processing units from Summit Audio. The MPE-200 features two channels of microphone preamp and two channels of parametric EQ, all discrete class A transformer coupled, designed by Summit Audio with Mr. Rupert Neve. Add to the incredible sound of these preamps and EQ’s the versatility, precision, and control of a digital interface, and the vision of Element 78 is realized: a no-compromise analog signal path combined with an easy-to-use and powerful digital front-end. Features include 25 on-board presets for instant recall and reset capabilities, full MIDI support for storage of settings and automation, support for Digidesign’s ProTools (see Extension 78), two world-class microphone preamps, two four band parametric equalizers (preamps and EQ can be used separately or routed together internally), two filters per preamp (high and/or low pass, stackable for 24 dB/ octave rolloff), 48 volt phantom power, phase reversal, analog fading and more.

Broadhurst Gardens No. 1 Dual Mic-amp

This microphone amplifier features low noise and low distortion. It offers switched gain controls for high accuracy level setting, level indication, switchable high pass filters, input pads, and mix mode, where channel 1 shares its output with channel 2.

UREI 1176LN Limiter Black face

Mono solid state compressor/limiter, using FET gain reduction. Stereo linkable with 1176SA. Designed by Bill Putnam in the late 1960s, the 1176 evolved from the Universal Audio 175 and 176 vacuum tube limiters. Universal Audio claim it was the first true peak limiter with all transistor circuitry, and as the modified 1176LN (low noise) version it went on to become an absolute classic. Few serious studios have been without one since the early 1970s.

UREI 1176LN Limiter Silver face

The later release of the 1176 mono solid state compressor/limiter, using FET gain reduction.

UREI 1178 Stereo Limiter

This is the stereo version of the 1176 solid state compressor/limiter, using FET gain reduction. Can operate in dual mono or stereo modes, but ratio, attack, and release controls are common to both channels.

Focusrite Blue-230 Stereo Compressor-Limiter

Ttop of the line stereo solid state compressor/limiter from Focusrite. Ideal as a bus compressor with re-settable switch controls on many functions. Can operate in dual mono or stereo modes. Separate compression and limiting functions.

Waves L2 Ultra-maximiser Digital Limiter

You can use L2 to significantly increase the average signal level of typical audio signals without introducing audible side effects. It’s superb for mastering, mixing, and recording, but equally capable of extreme limiting, intentional pumping, and vintage dynamic processing effects. Take L2 with you to every live sound venue, recording studio, mastering house and DAW for producing the hottest audio wherever and whenever you want.
L2’s Increased Digital Resolution wordlength reduction system features ninth-order noise shaping which can increase the perceived sound by as much as 18dB. For example, when you start with original sources of 20 bits or more,16 and 20 bit masters may have the perceived sound quality of 19 and 23 bit signals.

Aphex Compellor

Aphex special compressor.

DBX 160 Compressor-Limiter

Classic DBX. Punchy.

Drawmer DS201 Dual Gate

Eventide H949 Harmonizer

The last of the non-DSP harmonizers. This has a special sound of it's own.

The Ultra harmonizer with dynamic control. The last and best of the 3000 series.

Lexicon PCM70 Reverberator

Classic mid range Lexicon. Still has that sweet sound.

UREI LA-22 Stereo Compressor-Limiter

Frequency selective compression plus peak limiter. Compresses only the frequency band selected. Peak stop limiter also.

AMS RMX16 Reverberator

The famous AMS

Alesis XTC Reverberator

Chunky and thick, early Alesis sound.

DBX 120X and 500 Sub-harmonic Synthesizer

Amazing re-creation of bass

Lexicon 224 Reverberator

Another classic, 2 in 4 out.

Klark Teknik DN780 Reverberator

Similar sound to the AMS, more programs and greater editing.

Sony '7' series Studio Effects

? 4 separate units: ? M7 Modulators

? R7 Reverberator ? F7 filters

? D7 Delay

White 4400 Equaliser

DBX 902 De-esser

The best de-esser I have tried.

Roland SRE-555 Tape Echo

This is the rackmount version of the 501. Essential tape echo!

SPL Tube Vitalizer 9530

The Tube Vitalizer is the top-of-the-line in the Vitalizer family from SPL. To implement the Vitalizer program EQ in a technically optimal way, a combination of tube, coil, transistor and semiconductor technology was created which comprehensively exploits the advantages of the individual sound features of these components and which can be individually configured to best suit the task (RC or LC filter, tubes or semiconductor output stage).

Compared with traditional equalizer designs, the Vitalizer combines virtuosic manipulations of the sound image with maximal efficiency. It meets the highest standards in every way in the professional sound studio and in mastering – both in single channel and subgroup processing as well as in refining summing signals. One of its most popular uses is in restoring old recordings – the Tube Vitalizer makes remastering a joy.

Krohn-Hite 3202R 2 Channel Tuneable Filter

The 3202R Dual Channel Tunable Filter is a rack mounted, all solid-state variable electronic filter with low-pass, high-pass, band-pass, and band-reject capabilities.
? 20 Hz to 2 MHz frequency ? 80 dB maximum attenuation
? High Pass - 48 dB per octave ? < 100 uV RMS hum and noise
? Low Pass - 48 dB per octave ? 10% calibration accuracy
? Band Pass - 24 dB per octave ? Butterworth or Fourth Order RC response
? 24 dB/octave parallel band reject

TC Electronics 2290 Dynamic Delay

Acclaimed as the Industry Standard Digital Delay, the TC 2290 is to be found in recording studios, PA rigs and guitarists’ FX racks around the globe.
The TC 2290 combines unique operational features and superior sound quality, allowing you a greater degree of musical creativity in the use of effects.

Audio Design Recording F760RS

Classic English gate, compressor, limiter.

Aphex model 602 Aural Exciter

The first aural exciter it was the tube model 402, the 602 is an upgraded transistorized version. Compression is included in this model.

Apogee Electronics PSX-100

The PSX-100 includes built-in interfaces for ADAT, TDIF, S/PDIF coax and optical plus multiple AES/EBU. Other features include Apogee's UV22 word-length reduction system, and Soft Limit for maximum A/D level without overs. An auxiliary AES output allows a full- resolution output to be supplied, even when UV22 is in use on the main outputs. The wide range of standard interfaces provided, including multiple AES I/O ports, allows the unit to be used for signal distribution and format conversion as well as for A/D and D/A applications.

The inclusion of 88.2 and 96kHz sample rates makes the PSX-100 ideal for such applications as mastering high-resolution CDs utilizing 88.2kHz sampling, or for DVD-Audio masters sampled at 96kHz with 24-bit resolution. Meanwhile, the inclusion of UV22 to reduce the word length from 24 to 20 or 16 bits makes the unit equally suitable for traditional 16-bit CD mastering or for DVD-Video soundtracks requiring 20-bit signals sampled at 48 kHz.

Dolby 361 Noise Reduction

Available with 'A' or 'SR' modules.

Studer A810 1/4” Tape Recorder

4 speed, half track, IEC and NAB. Perfect for mastering and copying.

Revox A77 1/4” Tape Recorder

Half track 7.5ips and 15ips with optional Dolby noise reduction. Suitable for location analogue recording. This machine has been optimised for lower noise, lower distortion, and set up to match professional signal levels.