Gotham Tube Equalizer
December 30th, 2007
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Gotham Tube Equalizer
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A Designs HM2EQ HAMMER Dual-Mono 3-Band Tube Equalizer $2425 A Designs HM2EQ HAMMER Dual-Mono 3-Band Tube Equalizer |
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A Designs Hm2eq Hammer Dual-Mono 3-Band Tube Equalizer $2425 A Designs HM2EQ HAMMER Dual-Mono 3-Band Tube Equalizer |
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Tube-Tech Pe-1C Program Equalizer $2475 The Tube-Tech PE 1C Program Equalizer is the design that started it all for John Petersen and Tube-Tech. It's an all tube version of the legendary Pultec EQP 1A, an equalizer that was, and still is, known for its uncanny ability to make things sound better by just running signal through it. Has Tube-Tech captured that magic? Just do a Google search for Tube-Tech PE 1C. Page after page of world class and mid- to upper-level recording studios come up. That alone tells the whole story. Tube-Tech PE 1C Program Equalizer, First Take:Passive Pultec-style EQTube-based gain-makeup ampliferBalanced I/O and Floating TransformersPassive EQThe PE 1C contains a passive filter and a tube-based amplifier to restore the loss from the filter. The filter has a low frequency boost/attenuate section with 4 selective frequencies, a high frequency boost section with a variable bandwidth and 10 selective frequencies and a high-frequency attenuation section with 3 selective frequencies. The filter is placed directly after the input transformer therefore eliminating noise from the amplifier when boosting either low or high frequencies. The amplifier consists of two tubes (valves) in push-pull configuration (one ECC 83 as the pre-amp and phase splitter, and one ECC 82 as the output stage), and an output transformer. Both input and output are balanced and fully floating. The in/out key switches the filter in and out without clicks and changes in level, while the amplifier remain in the signal path.Balanced I/O and Floating TransformersInput and output are balanced as well as fully floating. This provides maximum electronic isolation for superior noise rejection. The power supply for the pre-amp and phase splitter are stabilized and the heaters of both tubes (valves) are fed with a stabilized DC voltage. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion. Put simply, the PE 1C's DC-stabilized circuits keep the EQ bands free of any unwanted artifacts. EQ is smooth and distortion-free. About Tube-TechFor over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (digital audio routers). He also designed tape recorder playback/recording amps for Lyrec tape recorders (found in the studios of the legendary Joe Meek and Vangelis). His first design under the name of Tube-Tech was an all-tube equalizer based on the legendary Pultec EQP 1A. Petersen continued to design and manufacture a number of innovative all-tube outboard processors including preamps, multiband compressors and summing amps. Thanks to John's dedication to high-quality analog sound you'll see Tube-Tech gear in the racks of pro audio legends |
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Drawmer 1961 Vacuum Tube Equalizer $2325 Designed to complement the widely acclaimed Drawmer 1960 Mic Pre-Amp Vacuum Tube Compressor, the 1961 Vacuum Tube Equalizer combines low-noise circuitry with no fewer than twelve active tube stages to provide two channels of exceptional equalization possessing unique 'personality'. Rather than employ a continuously variable resistor as a means of frequency control, the 1961 utilizes the same rotary 'step' switching system used in vintage designs . This enables the component values for each frequency band to be optimized for uncompromising performance across the entire audio spectrum and also makes setting up more accurate, particularly when treating stereo signals. The design of the 1961 allows the user to control the amount of 'warmth' by deciding how hard to drive the tubes giving a sound as 'clean' as the best discrete solid state designs or as 'hot' as the 'hottest' classic tube designs. The 1961 and 1960 Can be 'interlinked' to provide, in effect, a two channel vacuum tube mixing console, - the perfect mastering or post audio 'sweetening' tool. Facilities available on the 1961 include: Input level A variable input level of -20dB to +20dB ensures compatibility with a wide range of input source material and enables the user to optimize signal level and drive the tubes 'soft' or 'hot' as required. LED bargraph displays give a clear indication of the input signal level. High Pass Filter A variable 12dB/Octave roll-off filter adjustable from - 15Hz to 500Hz section enables the user to remove unwanted low frequencies and sub-sonic noise. Equalization Each channel of the 1961 has four main equalizer sections with six carefully chosen overlapping frequencies and a separate tube stage for increased harmonic clarity. Each section also includes variable band width from 0.3 Octave to 3 Octaves and +18dB of Cut and Boost. BASS frequencies (Hz) 20, 32, 50, 80, 125, 200_LO-MID frequencies (Hz) 100,180, 250, 400, 650,1K_HI-MID frequencies (kHz) 0.5, 0.8,1.2, 2.0, 3.2, 5.0_TREBLE frequencies (kHz) 2.5, 4, 6,10,15, 25 Low Pass Filter A variable 12dB/Octave roll-off filter adjustable from 2.5kHz to 56kHz enables the user to remove high frequency interference or to band limit excessively high levels of high frequencies. Output Stage Two additional tube stages in the output section of each channel allow the user to achieve 'soft clipping' by adjusting the input level control whilst visually monitoring the effect upon the 'Soft' and 'O/L' (Overload) LED's. Bypass In addition to a master bypass switch for each channel each of the parametric and shelving filters has its own separate bypass switch. This not only makes the 1961 very straight forward to set up, by allowing instant A-B comparison ,but also enables the tube output stages to be used to add tube coloration without EQ simply by leaving each channel switched to 'In' and each individual EQ sections switched to 'Out' The master bypass switch for channel bypasses all the filter sections as well as the ou |
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Hedman 18811 Equalizer Tube Kit Exhaust Pipe 2.25 Dia. Comes w/ Straight/V Pipe $61.99 Hedman 18811 18811 Equalizer Tube Kit; Exhaust Pipe; 2.25 in. Dia.; |
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Tube-Tech Me 1B Midrange Equalizer $2475 Looking for midrange punch as only tubes can deliver? Look no farther than the Tube-Tech ME 1B Midrange Equalizer. Based on the example of the legendary Pultec MEQ-5 from the days of yore, Tube-Tech has dedicated a modern EQ to this all-too-important region of the audio spectrum, and does it with all-tube style and warmth. It provides the kind of performance you expect from a high-end EQ, and does it effortlessly. With Tube-Tech EQ, you get dramatic results without having to tweak endlessly. To get the most out of the ME 1B, use it to focus on midrange while another EQ, such as the EQ 1A handles the lows and highs. And while it would be tempting to use it to make individual instruments larger than life, adding punch and sheen to an overall mix is where this EQ shines. Tube-Tech ME 1A Midrange Equalizer, First Take:Midrange program equalizer with passive filters and tube-based gain-makeup amplifierThree sections of selectable EQBalanced and fully floating I/OPassive EQ with Tube AmplifierThe rackmount Tube-Tech ME 1B Midrange Equalizer contains a low frequency boost section for peaking, a mid frequency attenuation for dipping, and a high frequency boost section for peaking. The ME 1B contains a passive filter and a tube-based amplifier to restore the loss from the filter. The filter has a low frequency peak section with 5 selectable frequencies, a mid frequency dip section with 11 selectable frequencies, and a high frequency peak section with 5 selectable frequencies. The filter is placed directly after the input transformer, therefore eliminating noise from the amplifier when boosting either low- or high frequencies. The amplifier consists of two tubes in push-pull configuration (one ECC 83 as the pre-amp, and one ECC 82 as the output stage), and an output transformer. Both input and output are balanced (600_) and fully floating for maximum electronic isolation. The in/out key switches the equalization in and out without clicks and changes in level, while the amplifier remains in the signal path.Three Frequency SectionsUsing a bell curve EQ to isolate center frequencies, the ME 1B divides the midrange into three sections, low, mid, and high. The low frequency section comprises a continuously variable peak control (0dB to +10dB) and choice of five selectable frequencies (200Hz, 300Hz, 500Hz, 700Hz, 1kHz). The Mid Frequency section comprises a Dip control that is continuously variable from 0dB to -10dB and eleven selectable center frequencies from 200Hz to 7kHz. The High Frequency section covers five selectable frequencies from 1.5kHz to 5kHz and a Peak control that is continuously variable from 0dB to +8dB. Balanced and Fully Floating I/OBoth input and output are balanced (600 ohm) and fully floating, which provides maximum electronic isolation since there is no common ground between input and output. Input and output transformers come with a static screen between the primary and secondary wirings. These screens shield the secondary from the prima |
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Tube-Tech Eq 1A Full Range Equalizer $4905 The Tube-tech EQ 1A is an all-tube based, mono equalizer, which provides a sweet, musical EQ that offers creative sound-shaping with minimal tweaking. It provides the exactly results you'd expect from a world-class EQ, and does it effortlessly. A mastering version of the EQ 1A, the EQ 1M is available with stepped rotary switches for accuracy and parameter recall. Tube-Tech EQ 1A Full Range Equalizer, First Take:One-channel, all-tube based parametric equalizerHigh- and low-cut filters25kHz cut for anti-aliasing filtersHigh- and low-cut shelving EQ sections and three overlapping bandsAll-Tube Based Parametric EQThe EQ 1A has seven EQ sections that can be switched in and out, including high- and low-cut, high and low shelving, and three overlapping bands ranging from 40Hz to 20kHz. Except for the power supply, the EQ unit is all-tube based. Both the input and output stages have fully floating transformers for superior electronic isolation, which results in noise-free, ground-loop immune operation. All voltages (with the exception of the anode voltage at the output stage) are DC stabilized, since any variation in the DC energy when combined with the musical signal would cause distortion. Put simply, the EQ 1A's DC-stabilized circuits keep the EQ bands free of any unwanted artifacts. EQ is smooth and distortion-free. High- and Low-Cut Filters The cut filters are designed with unity gain amplifiers. This is significant since they don't load down the source or draw any current. Therefore, they drive the load as if it were a perfect voltage source. They also eliminate distortion due to overload, crosstalk, and other electromagnetic interference. The low- and high-cut sections include a frequency switch with a choice of six frequencies, a slope switch and an in/out switch. Both the low- and hi-cut filters offer a choice of six frequencies.25kHz High-Cut for Anti-Aliasing FiltersOf particular interest is the 25kHz high cut setting. Its purpose is to roll off the digital artifacts that can be heard when recording to digital systems when using their onboard converters. As you may know, design engineers use the anti-aliasing filters in digital converters to dump "garbage" (digital artifacts) above the audible spectrum (above 20kHz). In use, the 25kHz cut appears to have very little effect on the high-frequency content, however, its effect is very audible when it comes to removing the effects of those artifacts. High and Low Shelving EQThe shelving and bell filters (for the three overlapping bands) are designed around two tube operational amplifiers. Tubes can be operated in the overload region without adding objectionable distortion they way op amps and solid state amplifiers do. Due to this extra headroom, although subjective, tubes sound louder and have a better signal-to-noise ratio than transistor amplifiers. This is why the EQ 1A sounds so musical and smooth, even when you boost frequencies in the extreme. The EQ 1A also offers six frequencies of shelv |
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D.W. Fearn VT-4 Equalizer $4400 The VT-4 equalizer from D.W. Fearn will change the way you think of EQ. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars, any sound, or even an entire mix. Even with extreme settings, the VT-4 will never sound harsh. This single-channel equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1/VT-2 mic preamp design, so the equalizer has much the same sonic character as the preamps. The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control. The input is line-level, transformer balanced-bridging. An active vacuum tube input section has adjustable gain to accommodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps. All controls are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are custom-made by Jensen Transformers Inc. The D.W. Fearn VT-4 equalizer is constructed of heavy-gauge aluminum, with a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction. Like the VT-1/VT-2 preamps, the VT-4 Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly musical EQ with plenty of range for enhancing any track or mix. Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296). The History of the VT-4 Equalizer Throughout my career in recording, there have always been a few equalizers that stood out as being exceptional. Among my favorites are the 1970s-era Neve input-strip EQs, and the Trident CB9066 parametric. I began my equalizer development project by first building a series of test circuits, using all the various tone-modification techniques. After listening to a wide variety of equalization circuits, it was obvious to me that the passive inductor-capacitor |
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D.W. Fearn Vt-4 Equalizer $4400 The VT-4 equalizer from D.W. Fearn will change the way you think of EQ. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars, any sound, or even an entire mix. Even with extreme settings, the VT-4 will never sound harsh. This single-channel equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1/VT-2 mic preamp design, so the equalizer has much the same sonic character as the preamps. The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control. The input is line-level, transformer balanced-bridging. An active vacuum tube input section has adjustable gain to accommodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps. All controls are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are custom-made by Jensen Transformers Inc. The D.W. Fearn VT-4 equalizer is constructed of heavy-gauge aluminum, with a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction. Like the VT-1/VT-2 preamps, the VT-4 Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly musical EQ with plenty of range for enhancing any track or mix. Important Note: Due to heat given off by tubes, D.W. Fearn recommends that you provide at least one rack unit (RU) of space above and below their audio rack products. For proper cooling and a refined look for your rack, we highly recommend using D.W. Fearn Vented Rack Panels (#180296). The History of the VT-4 Equalizer Throughout my career in recording, there have always been a few equalizers that stood out as being exceptional. Among my favorites are the 1970s-era Neve input-strip EQs, and the Trident CB9066 parametric. I began my equalizer development project by first building a series of test circuits, using all the various tone-modification techniques. After listening to a wide variety of equalization circuits, it was obvious to me that the passive inductor-capacitor (LC) circuit was the one that sounded the most musical and natural to me. In thinking about how I use equalization, I realized that having sim |
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D.W. Fearn VT-5 Stereo Equalizer $7500 The VT-5 Stereo Equalizer is a dual-channel version of the acclaimed D.W.Fearn VT-4 LC Equalizer (see #180274). The frequencies, steps, curves, etc. are exactly the same. The VT-5 is a true stereo equalizer, with one set of controls that work on both channels simultaneously. This equalizer will change the way you think of EQ. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars, any sound, or even an entire mix. Even with extreme settings, the VT-5 will never sound harsh. This single-channel equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1 (#180271)/VT-2 (#180272) mic preamp design, so the equalizer has much the same sonic character as the preamps. The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control. The input is line-level, transformer-balanced bridging. An active vacuum tube input section has adjustable gain to accommodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps. All controls on the VT-5 equalizer are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are also custom-made for Fearn by Jensen Transformers Inc. The equalizer is constructed of heavy-gauge aluminum, with a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction. Like the VT-1/VT-2 preamps, the VT-4 Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly musical EQ with plenty of range for enhancing any track or mix. Important Note: Having many tubes, the VT-5 generates a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling. The History of the VT-4/VT-5 Equalizer Throughout my career in recording, there have always been a few equalizers that stood out as being exceptional. Among my favorites are the 1970s-era Neve input-strip EQs, and the Trident CB9066 parametric. I began my equalizer developme |
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D.W. Fearn Vt-5 Stereo Equalizer $7500 The VT-5 Stereo Equalizer is a dual-channel version of the acclaimed D.W.Fearn VT-4 LC Equalizer (see #180274). The frequencies, steps, curves, etc. are exactly the same. The VT-5 is a true stereo equalizer, with one set of controls that work on both channels simultaneously. This equalizer will change the way you think of EQ. It's smooth and sweet, and can be very subtle at mild settings, but quite strong with aggressive use of the controls. Creative use of the low boost and cut will create a powerful bass that has to be heard to be believed. The high boost adds just the right brightness to vocals, guitars, any sound, or even an entire mix. Even with extreme settings, the VT-5 will never sound harsh. This single-channel equalizer uses passive LC circuitry with class-A triode vacuum tube stages for the input and output. The tube circuitry is largely derived from the VT-1 (#180271)/VT-2 (#180272) mic preamp design, so the equalizer has much the same sonic character as the preamps. The LC-style passive equalization circuitry is based on the classic designs that are still the best-sounding way to achieve high-quality tonal control. The input is line-level, transformer-balanced bridging. An active vacuum tube input section has adjustable gain to accommodate input signals as low as -10 dBm. The input transformer is made by Jensen. The output stage utilizes the same custom Jensen transformer used on the VT-1/VT-2 mic preamps. All controls on the VT-5 equalizer are stepped for precise repeatability and uniform matching between units. High-quality rotary switches are used with 1% metal-film resistors. All of the audio capacitors are polystyrene or polypropylene. The inductors are also custom-made for Fearn by Jensen Transformers Inc. The equalizer is constructed of heavy-gauge aluminum, with a 3RU (5.25 inch), 1/4-inch thick front panel, finished in D.W. Fearn red. It matches the VT-1/VT-2 series of mic preamps in appearance and construction. Like the VT-1/VT-2 preamps, the VT-4 Equalizer has been designed to provide an exceptional tool for audio professionals. The design frequencies and curves were determined by ear, after extensive listening to a variety of program material, both individual tracks and overall mixes. The result is a highly musical EQ with plenty of range for enhancing any track or mix. Important Note: Having many tubes, the VT-5 generates a considerable amount of heat. We highly recommend using D.W. Fearn Vented Rack Panels (#180296) above and below the unit for proper cooling. The History of the VT-4/VT-5 Equalizer Throughout my career in recording, there have always been a few equalizers that stood out as being exceptional. Among my favorites are the 1970s-era Neve input-strip EQs, and the Trident CB9066 parametric. I began my equalizer development project by first building a series of test circuits, using all the various tone-modification techniques. After listening to a wide variety of equalization ci |
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Gotham Mirror $439 Gotham Mirror |
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Gotham Knight $6.99 Gotham Knight |
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Summit Audio Eqp-200B Dual Program Equalizer $2699 The The Summit Audio EQP-200B Dual Program Equalizer is a full range 2-channel passive equalizer that uses vacuum tubes to overcome any insertion gain loss. The EQP-200B equalizer harnesses both solid state and tube technologies to produce the warm sounds associated with tubes, while also delivering the sweet, open high end of discrete solid state devices. This Summit Audio passive tube EQ is an incredibly warm sounding and accurate equalizer, hand built in the USA to the most exacting standards.Based on the original Pultec program equalizer design, the EQP-200B uses a tried-and-true design with some added Summit Audio magic. Custom, hand-made Jensen 990 op amps on the output give a clear and open sound to the passive EQ elements in the filter circuits. The EQP-200B adds that special touch to your mix without the inherent phase anomalies of active EQ circuits. Tracking? Try the EQP-200B equalizer on vocals, kick, or snareit;s a secret weapon of some of the world's top engineers. Mixing? The EQP-200B is perfect on the mix bus or for adding richness to individual instruments. Mastering? With the Summit Audio EQP200B Dual Program Equalizer you own the magic sound that keeps clients coming back again and again.Two independent channelsSwitch selectable frequenciesPassive I/O circuitsIn/out/shelf switchTransformerless signal pathExtended frequencies & LF shelf3 year warrantyHand crafted in the USA |
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Tube-Tech Eq 1Am Full Range Mastering Equalizer $6075 The Tube-Tech EQ 1AM is the mastering version of the version of the Tube-Tech EQ 1A. Whether you're adding overall sheen and polish to a final mic, smoothing out harsh vocals and instruments, or just going for some power and punch, the EQ 1AM provides the exactly results you'd expect from a world-class EQ, and does it effortlessly. Built for mastering, the EQ 1M features stepped rotary switches for accuracy and parameter recall. Tube-Tech EQ 1AM Full Range Equalizer, First Take:One-channel, all-tube based parametric equalizerHigh- and low-cut filters25kHz cut for anti-aliasing filtersHigh- and low-cut shelving EQ sections and three overlapping bands with stepped rotary controls for gain and bandwidthAll-Tube Based Parametric EQThe EQ 1AM has seven EQ sections that can be switched in and out, including high- and low-cut, high and low shelving, and three overlapping bands ranging from 40Hz to 20kHz. Except for the power supply, the EQ unit is all-tube based. Both the input and output stages have fully floating transformers for superior electronic isolation, which results in noise-free, ground-loop immune operation. All voltages (with the exception of the anode voltage at the output stage) are DC stabilized, since any variation in the DC energy when combined with the musical signal would cause distortion. Put simply, the EQ 1AM's DC-stabilized circuits keep the EQ bands free of any unwanted artifacts. EQ is smooth and distortion-free. High- and Low-Cut Filters The cut filters are designed with unity gain amplifiers. This is significant since they don't load down the source or draw any current. Therefore, they drive the load as if it were a perfect voltage source. They also eliminate distortion due to overload, crosstalk, and other electromagnetic interference. The low- and high-cut sections include a frequency switch with a choice of six frequencies, a slope switch and an in/out switch. Both the low- and hi-cut filters offer a choice of six frequencies.25kHz High-Cut for Anti-Aliasing FiltersOf particular interest is the 25kHz high cut setting. Its purpose is to roll off the digital artifacts that can be heard when recording to digital systems when using their onboard converters. As you may know, design engineers use the anti-aliasing filters in digital converters to dump "garbage" (digital artifacts) above the audible spectrum (above 20kHz). In use, the 25kHz cut appears to have very little effect on the high-frequency content, however, its effect is very audible when it comes to removing the effects of those artifacts. High and Low Shelving EQThe shelving and bell filters (for the three overlapping bands) are designed around two tube operational amplifiers. Tubes can be operated in the overload region without adding objectionable distortion they way op amps and solid state amplifiers do. Due to this extra headroom, although subjective, tubes sound louder and have a better signal-to-noise ratio than transistor amplifiers. This is why the EQ 1A so |
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Manley EQP-1A Enhanced 'Pultec' Equalizer $2070 The Manley Enhanced Pultec EQP-1A is Manley's interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. Manley has been building Pultec EQs since 1990 after they hunted down Eugene Shenk in New Jersey to ask for his permission and blessings to produce their own version of his classic piece. This Manley Pultec EQ employs a simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit.Manley Enhanced Pultec Equalizers use a transformerless signal path and has a vastly superior B+ power supply, with regulated and balanced heater supply. The Manley line amp is known to be killer-sounding. The components Manley uses today on the EQP-1A equalizer just weren't available in the 1960's. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec.The Manley Pultec EQP-1A uses 1 x 12AU7WA and 1 x 6414 in it's all-tube single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like Manley 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.The rackmount Pultec EQ may be set to 'flat' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Manley's single rack unit mono blocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. Manley added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4" jack) may be selected in that switch's middle position.Kick drum? Bring on the Pultecs and all the iron you can muster! You'll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You'll see. There's no substitute for what a Manley Pultec EQ can do! |
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Manley Eqp-1A Enhanced 'Pultec' Equalizer $2070 The Manley Enhanced Pultec EQP-1A is Manley's interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. Manley has been building Pultec EQs since 1990 after they hunted down Eugene Shenk in New Jersey to ask for his permission and blessings to produce their own version of his classic piece. This Manley Pultec EQ employs a simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit.Manley Enhanced Pultec Equalizers use a transformerless signal path and has a vastly superior B+ power supply, with regulated and balanced heater supply. The Manley line amp is known to be killer-sounding. The components Manley uses today on the EQP-1A equalizer just weren't available in the 1960's. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec.The Manley Pultec EQP-1A uses 1 x 12AU7WA and 1 x 6414 in it's all-tube single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like Manley 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.The rackmount Pultec EQ may be set to 'flat' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Manley's single rack unit mono blocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. Manley added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4" jack) may be selected in that switch's middle position.Kick drum? Bring on the Pultecs and all the iron you can muster! You'll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You'll see. There's no substitute for what a Manley Pultec EQ can do!Manley input transformer with pure nickel laminations potted in mu-metal case. 3K ohm input ZPHASE REVERSE switch for balanced XLR inputAlternate transformerless " HI-Z (5K ohm) inputBYPASS switch & AUTO-MUTE with warmup delaySilent conductive plastic BOOST & CUT controlsSealed gold-contact Greyhill frequency select switchesHi-current drive |
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