This is an excellent preamplifier, that can be used with a variety of sources: line signals, guitar pickups (via Hi-Z input), dynamic, condenser and ribbon microphones. It always provides outstanding results. With one knob gain control (41-stepped) you can push it nicely, but still make sure that you don't overload the next stage of your signal chain. The second stage overloading gives some sweet harmonics vibe. Adds a lot of unique flavour. HiZ input is accessible from the front of unit. Handy!
Getting specific
single channel
pure tube mic preamp in a 500 module
two double-triodes (JJ ECC803S and JJ ECC81)
UK made input and American output transformers
-20 dB interstage Pad
polarity control
+48V phantom power
low-cut filter
DI-Input 1/4" TS Jack 1MOhm
max. Input Level: +16 dBu
max. Output Level: +28 dBu
back-lighted analog VU-Meter
+48 and clip LED
Made in Europe
What it is
The FET-type solution was first used for its application in the legendary UREI 1176 compressor from the 70s. The most important feature inspired by revision A is the input transformer used and pure class A output stage. The compressor is equipped with a relay bypass, 2:1 Ratio and Slam Mode accessible on the front panel.
“true peak limiter with all transistor circuitry and superior performance on all types of material"
What it does
The 576 BS’s major selling point is its ultra-fast attack time — 20 µS. The 576 BS Ratio buttons allow four different modes of operation: 2:1 Ratio (soft compression); 4:1 ratio (moderate compression); 8:1 ratio (severe compression); 12:1 ratio (mild limiting); 20:1 ratio (hard limiting); S – SLAM, All Buttons In trick mode.
SLAM Mode can definitely give a male or female rock vocal track an in-your-face sound that you can’t get anywhere else.
What it is
The FET-type solution was first used for its application in the legendary UREI 1176 compressor from the 70s. The most important feature inspired by revision A is the input transformer used and pure class A output stage. The compressor is equipped with a relay bypass, 2:1 Ratio and Slam Mode accessible on the front panel.
“true peak limiter with all transistor circuitry and superior performance on all types of material"
What it does
The 576 BS’s major selling point is its ultra-fast attack time — 20 µS. The 576 BS Ratio buttons allow four different modes of operation: 2:1 Ratio (soft compression); 4:1 ratio (moderate compression); 8:1 ratio (severe compression); 12:1 ratio (mild limiting); 20:1 ratio (hard limiting); S – SLAM, All Buttons In trick mode.
SLAM Mode can definitely give a male or female rock vocal track an in-your-face sound that you can’t get anywhere else.
Studio Revolution with the 825EQ Mastering Equalizer.Inductors and tubes affect the sound in a beautiful way. They can saturate just like transformers do.ELMA stepped controls - definitely not your grandpa's EQ.Dive into a world where audio precision and warmth meet in harmony with the IGS 825EQ Stereo Equalizer. Tailored for studio professionals, this unit is not just an equalizer; it's your partner in crafting recordings that stand out. Housed in a streamlined 3U 19" rack mount, the IGS 825EQ is designed to elevate your studio experience, offering unmatched flexibility and intuitive control over a wide range of sound shaping possibilities.Elevate your masters with our vintage design.Mastering Grade Precision: Each step you take with the IGS 825EQ is a step towards perfection. With all stepped controls specifically designed for mastering, you can expect nothing less than the most subtle and impactful sound adjustments. This level of precision ensures that every track you work on reaches its highest potential, with clarity and depth that captures every nuance of the performance.Match the mood of your project perfectly, from lush vocals to vibrant instruments.Unmatched Quality: The heart of the IGS 825EQ's unmatched sound quality lies in its all-ELMA switch controls. These premium components guarantee reliability and precision, allowing you to make consistent adjustments that translate directly into superior sound quality. This is the detail that distinguishes professional recordings. Supreme Connectivity: UTM transformer balanced inputs and outputs, paired with three audio transformers per channel, ensure that your signal maintains its integrity through every stage of processing. This top-tier design element secures a pure, uncolored sound that truly represents your artistic vision.A New Horizon of SoundRobust Power Delivery: At its core, the IGS 825EQ boasts a linear power supply that promises a stable and clean energy source for the most delicate components. This ensures a noise-free environment for your audio to thrive in, letting your creativity flow uninterrupted. Tube Warmth: Infuse your recordings with the unmistakable warmth and character of tubes. Each channel of the IGS 825EQ harnesses the sonic beauty of three ECC88 tubes, with the flexibility to swap in 6N23P or 6N1P tubes. This versatility allows you to tailor the sound signature to match the mood of your project perfectly, from lush vocals to vibrant instruments.Key Features:- Dual mono full tube equalizer,- ELMA switches, all stepped controls,- The UTM transformer balanced inputs and outputs,- Three audio transformers and three tubes per channel,- Two versions available: +/-6dB and +/-12dB,- Extensive tube selection options: ECC88, E88CC, 6N23P, 6N1P
The ALTER 500 is a FET compressor built is the 500 standard. The FET-type solution was used for the first its application in the legendary UREI 1176 compressor from the 70s. The ALTER is a single-channel unit with stepped input and output controls. The Ratio switch has six positions, including two additional to the original 1176 1:1 and 2:1 settings. Slam Mode can be turned on with a separate switch, working regardless of the Ratio settings. Attack and release times can be set to Fast / Mid / Slow with 3-pole switches. The compressor is equipped with a relay bypass, achieved on the front panel. The input is balanced with a modern, low-noise op amp and the output with a Carnhill transformer. The circuit has two amp stages, between which is the output control. The stage amps are based on the discreet API2520 circuit. The level of gain reduction is shown by a 30 point led bar.
Front panel
1. Input - Input level and compression depth
2. Output - Output Level
3. Attack - Variable Attack - 3 ranges: 0.02, 0.2 and 0.8 ms.
4. Release – Amp recovery time to the value of 0.85 max. Range: 50ms, 600ms, 1.5 sec.
5. Ratio - compression ratio over the threshold response.
6. Ratio ranges: from 1:1 (line amp), through 4:1 (compressor) to 20:1 (limiter)
7. SLAM - allows the enabling of All-Buttons-On - the "secret weapon" of any studio engineers ;)
8. COMP IN / OUT - Enable Bypass relay device
9. GR - very fast LED indicator showing the compression level in the range from 0 to 30dB.
Specification
API 500 standard Module,
Input impedance: 1kOhm,
Output impedance: 600Ω on Carnhill- Maximum input level: +20 dBu,
Maximum Output Level: +22 dBm,
Total Harmonic Distortion: 0.2%,
Frequency response: +/- 0.1 dB 20Hz to 20kHz,
Gain: 40dB- The signal to noise ratio: greater than 99 dB- Attack: 0.02, 0.2 to 0.8 ms,
Release: 50ms, 600ms, 1.5 s,
Power supply: + / - 16V,
Dimensions: 132x37x158mm- Weight: 700g.
The ALTER 500 is a FET compressor built is the 500 standard. The FET-type solution was used for the first its application in the legendary UREI 1176 compressor from the 70s. The ALTER is a single-channel unit with stepped input and output controls. The Ratio switch has six positions, including two additional to the original 1176 1:1 and 2:1 settings. Slam Mode can be turned on with a separate switch, working regardless of the Ratio settings. Attack and release times can be set to Fast / Mid / Slow with 3-pole switches. The compressor is equipped with a relay bypass, achieved on the front panel. The input is balanced with a modern, low-noise op amp and the output with a Carnhill transformer. The circuit has two amp stages, between which is the output control. The stage amps are based on the discreet API2520 circuit. The level of gain reduction is shown by a 30 point led bar.
Front panel
1. Input - Input level and compression depth
2. Output - Output Level
3. Attack - Variable Attack - 3 ranges: 0.02, 0.2 and 0.8 ms.
4. Release – Amp recovery time to the value of 0.85 max. Range: 50ms, 600ms, 1.5 sec.
5. Ratio - compression ratio over the threshold response.
6. Ratio ranges: from 1:1 (line amp), through 4:1 (compressor) to 20:1 (limiter)
7. SLAM - allows the enabling of All-Buttons-On - the "secret weapon" of any studio engineers ;)
8. COMP IN / OUT - Enable Bypass relay device
9. GR - very fast LED indicator showing the compression level in the range from 0 to 30dB.
Specification
API 500 standard Module,
Input impedance: 1kOhm,
Output impedance: 600Ω on Carnhill- Maximum input level: +20 dBu,
Maximum Output Level: +22 dBm,
Total Harmonic Distortion: 0.2%,
Frequency response: +/- 0.1 dB 20Hz to 20kHz,
Gain: 40dB- The signal to noise ratio: greater than 99 dB- Attack: 0.02, 0.2 to 0.8 ms,
Release: 50ms, 600ms, 1.5 s,
Power supply: + / - 16V,
Dimensions: 132x37x158mm- Weight: 700g.
IGS Audio BISON 500
The IGS Bison 500 is a simple mid/side mixer with dry/wet adjustment. It can be plugged into any 500 series rack equipped with a standard power supply. It has two stereo jack inserts (2 sends and 2 returns) on the front panel of the device used for plugging in your favorite dual mono or two mono compressors.
Mid/Side
With a flick of the switch your compressor(s) start working in Mid/Side mode, where the left channel controls the common/Mid section of the two channels and the right channel controls the difference between the channels referred to as Side. Adding more sides or compressing them differently can increase your stereo image significantly.
Parallel
The dry/wet knob can be very useful for parallel mixing. It is great for situations, where you want to pump up the sound without losing the natural dynamics of the dry mix.
DTL Double Triode Limiter is an expanded version of the Double Triode microphone preamp.Design was upgraded with a opto-limiter. The limiter is based on classic solutions used in the 60’s and 70’s. The component in charge of compression is a IGS Audio custom designed photocell. It consists of a electroluminescent subcomponent and a photo resistor. This subcomponent illuminates the photo resistor which reduces the audio path amplification. Limitation of the amplification is directly proportional to the light intensity in the photocell. The limiter threshold is indicated by a diode labeled “Limit” on the front panel.Audio path is a 2-steped tube amplifier with individual drive of both steps. The saturation of the first step is dependent on the input signal (with possibility to use Pad -20dB). The saturation of the second step is dependent on the Output regulator. Inputs and outputs are balanced with Sowter and Edcor (USA) transformers (custom selection possible). The anode voltage is close to 300V DC.For each of the channels Gain, Output and Limiter threshold can be regulated smoothly. The featured switches are: +48V, Mic/HiZ, Phase, Pad -20dB. Hiz inputs are located on the front panel. The meters show output signal level.Usage:The DTL is a typical double microphone preamp. It is adapted to work with any type of microphone. A wide range of amplification makes it possible to record drums as well as the quietest ribbon microphone. The Pad -20dB makes it possible to work with line signals as well. In this case the DTL does a great job of recording tracks from external devices such as synthesizers or drums machines (like Akai MPC). Great results are achieved through resampling tracks from DAWs. The DTL adds a tube saturation as well as a opto-compression to the sound. The high impendence inputs (HiZ) enable connecting a guitar or bass guitar directly into the grid of the first step of amplification (Typical HiZ solution).Additional device capabilities are activated by the Limiter section. This can be used to limit peak levels of the input signal. The wide range of Limiter settings goes from slight compression to hard limiting. This is especially useful in vocal recording where the wide range of signal dynamics is controlled. The limiter controls the louder parts and prevents digital audio path distortion. Another trick could be using the DTL as a drum compressor or sum compressor. It can increase the overall dynamics of the mix and give it a brighter sound. This is a very versatile device for audio processing. Technical specification:
Inputs: 2 Mic/Line XLR and 2 HiZ Jacks on the front
Outputs: 2 XLR
Tube Only audio path
Operating Level +4dB
Maximum Output +29 dBV,
Meters reads Output VU,
Max. Limiter Reduction 18dB
Gain Boost 60dB
THD < 0.1% @ 1Khz
S/N Ratio: 104dB
Mains consumption: 80 watts
Soft Start Power Tube Timer
Shipping weight: 8 kilos
IGS Audio IGS IQIGS IQ Qualizer is a modern application of the noble sound of analog correctors. This very precise, parametric equalizer works great on every stage of production. It can add marvelous color to the signal, while maintaining the whole character of the original sound. This is a unique phenomenon possible only with analog processing. As opposed to digital application correction it maintains neutrality and clarity in every setting. The simultaneous boosting and cutting of similar frequencies are the core secret of this device. This is the typical effect of analog filters in the audio path. Most of the sound correction is in micro-manipulation. The frequency range is divided into 4 bands: Sub, Bass, Mid, High. In every band the frequency and boost/cut level can be set. Specification:
Dual mono unit
Op-amp based parametric equalizer
XLR balanced input and output
Hard-wire BYPASS switch
4 bands: Sub, Low, Mid, High
15dB regulation
Crosstalk -110dB
Frequency response -0.1dB: 20Hz-20KHz
Potentiometer controls
Internal power supply
230V/110V Power option
Power Consumption: 24 Watts
Dimensions: 19" 2U, 230mm deep
Shipping weight: 8 kilos
Three bands of classic analog VCA compression provide an infinite field of possibilities to shape the sound. Concept
The Multicore is very versatile tool in your studio. Three bands of classic analog VCA compression provide an infinite field of possibilities to shape the sound. The device can be used as a mix bus compressor or for mastering purposes. Due to separate control of the audio bands it can be applied, for example on vocals to control sibilants without affecting on dynamics of the low band.Features
The core of device is based on a three band, adjustable active crossover. It splits audio signal into three bands (Low, Mid and High) with a gentle slope of 6dB/oct. That allows you to control the dynamics of each band in a very musical way without phase problems. Each of the bands has its own compressor module equipped with standard controls: Threshold, Ratio, Attack Release and Gain. A very useful feature is Mute/ON/Bypass switch on each band. The "Muted" option allows you to switch off the bands. If you mute two of them, you can hear only one band and monitor its audio content and bandwidth.
The core of device is based on a three band, adjustable active crossover. Components
The Multicore has transformer balanced inputs and outputs (Carnhill UK). The signal path is made with THT (Through-Hole Technology) components only. Passive components are matched between channels to provide best L/R correlation. High quality selected components ensure stability of parameters and superior sound. Low noise, negligible crosstalk and high headroom makes the device can be used in the most demanding professional audio applications.
Can be used in the most demanding professional audio applications.
Three bands of classic analog VCA compression provide an infinite field of possibilities to shape the sound. Concept
The Multicore is very versatile tool in your studio. Three bands of classic analog VCA compression provide an infinite field of possibilities to shape the sound. The device can be used as a mix bus compressor or for mastering purposes. Due to separate control of the audio bands it can be applied, for example on vocals to control sibilants without affecting on dynamics of the low band.Features
The core of device is based on a three band, adjustable active crossover. It splits audio signal into three bands (Low, Mid and High) with a gentle slope of 6dB/oct. That allows you to control the dynamics of each band in a very musical way without phase problems. Each of the bands has its own compressor module equipped with standard controls: Threshold, Ratio, Attack Release and Gain. A very useful feature is Mute/ON/Bypass switch on each band. The "Muted" option allows you to switch off the bands. If you mute two of them, you can hear only one band and monitor its audio content and bandwidth.
The core of device is based on a three band, adjustable active crossover. Components
The Multicore has transformer balanced inputs and outputs (Carnhill UK). The signal path is made with THT (Through-Hole Technology) components only. Passive components are matched between channels to provide best L/R correlation. High quality selected components ensure stability of parameters and superior sound. Low noise, negligible crosstalk and high headroom makes the device can be used in the most demanding professional audio applications.
Can be used in the most demanding professional audio applications.
IGS Audio ONE Leveling AmplifierThe IGS ONE LA is a photo-optical compressor, referring to the legendary solution of United Recording Electronics Industries. It is an input and output transformer balanced, full tube device. The input of the system is worked with a Sowter 4383 transformer, the output with Edcor 15k/600. Two 6N2P-EW 6N1P-EW dual-triodes are installed on the audio circuit, while the compression circuit isequipped with the 6N2P-EW triode and the 6AQ5 pentode, which control the work of the T4BX photocell. On the front panel you can adjust the input sensitivity (GAIN) and compression threshold (PEAK REDUCTION). Additionally, you can select the operating mode between Compress and Limit. You can also set the meter to VU or Gain Reduction.Inside the device are 4 tubes with 245V anode voltage. The system is mounted on a PCB, which results in shortening of connections inside the device, improves the bandwidth and stability. On the rear panel XLR connectors have been installed. The whole device is designed to work with a symmetrical 4dBu signal.It is known that in the case of ONE LA the nature of the device depends on the T4B photo-cell. The original solution used the TELETRONIX electroluminescent panel, which illuminated the photo resistors. The idea of photocompression originating then is still cultivated today. IGS Audio has developed its own photocell equivalent to T4B called T4BX. The use of carefully selected components in the production of photocell, and their individual measurement and matching, result in completely repetitive sound qualities of each device.Feature
Vacum Tubes audio path only,
4 Tubes per unit,
XLR Balanced Transformer, Inputs and Outputs,
Maximum Output +30 dBV,
Frequency Response: 10 Hz to 22 kHz +/- 0.2 dB,
Headroom 26 dB,
Input and Output impedance 600 Ohm
Fast Meter reads OUTPUT or GAIN REDUCTION,
Gain reduction up to 40dB
THD & Noise (1kHz @ +4 dBm): 0.012%
Noise Floor -82 dB Wideband
Signal to Noise Ratio: 122 dB typical
Power consumption: 60 watts
230VAC or 110V operation power.
The PHOTON 500 is an optical compressor, based on technology from the 60's, first used in the UREI LA-2A limiter and later in the LA4. As an homage to these legendary products, we packed this technology in a 500-series module.
The PHOTON 500 uses an opto-coupler, which introduces negative feedback in the audio path, taking care of gain reduction, being the basics of all compression.
The PHOTON 500 has an electronically balanced input with 2520 compatible op-amp in the gain stage. The output is balanced by a Carnhill transformer.
IGS Audio Rubber Bands Stereo EqualizerThe EQP2 consists of two blocks: The first block is a classic passive filter known from the EQP-1 device. The second block is a specially designed two-stage tube amplifier called Organic Amp. Due to its construction, passive equalizers’ culture is characterized by amazing sound. The new design includes a bypass relay, which allows you to instantly compare the results of your work. The equalizer has been divided into 4 sections: 2 for bass and 2 for treble. Bands are selected with stepped switches. Boosting and cutting are controlled continuously. Manipulators featured are Bass Boost, Bass Cut, High Boost (with the choice of Q) and High Cut. Interactions of filters that allow simultaneous boosting and cutting certain frequencies can produce amazing sound effects. Many performers believe that the passive equalizer is a cure for all digital evils. A distinctive characteristic of the IGS Audio EQP-2 Equalizer is its stereophonic structure, where the manual selecting of components with an accuracy of 0.2% allows for perfectly synchronous manipulation of both channels. The inputs and outputs are transformer balanced. Works with+4 dBu balanced signals.
Passive equalizer with tube Organic Amp
2 XLR balanced transformer inputs
2 XLR balanced transformer outputs
Potentiometer controlled: bass boost; bass cut; high boost Q; high boost; high cut
Stepped controls for all boost/cut frequencies
Analog cure for digital disease
The structure of passive equalizers has always been characteristic for its increadible sound color. The whole unit consists of passive elements only and doesn't require a power supply. The input and output are balanced by audio tranformers (1:1). A stereo preamp is necessary to makeup the initial volume. This allows you to use your favourite amplifier to form your final mix. The main advantage of the QPE-1 revolves around the simlutaneaous boosting and cutting of certain frequencies, ultimately giving a rich and smooth sound.specification:
Passive equalizer
2 XLR balanced transformer inputs
2 XLR balanced transformer outputs
Potentiometer controlled: bass boost; bass cut; high boost Q; high boost; high cut
Stepped controls for all boost/cut frequencies
Analog cure for digital disease
Rubber Bands 500 is a passive equalizer absurdly reduced in size. This tiny module is equipped with transformer balancing on inputs and outputs (Carnhill) as well as a discrete power circuit. Of course the entire filtering section is passive and mirrors fully analogue equalizers from the 60s.
Front Panel:
- Potentiometers:* HC (High Cut)* HB (High Boost)* Q * HC (High Cut) * HB (High Boost)
- Switches * HC: 6, 10, 20 kHz; * HB: 5, 6, 10, 12, 16 kHz; * BBC: 20. 40 , 60, 100, 120
- EQ IN – relay Bypass
Technical specification.- API 500 standard module- Passive Equalizer- Input impendance:1kΩ – Carnhill transformer balanced- Output impendance:600kΩ – Carnhill transformer balanced- Max input level: +20 dBu- Max output level: +22 dBm- Band amplification: +18 dB- Harmonic distortion THD: up to 0,1%- Frequency response: +/- 0.1 dB 20Hz do 20kHz- Signal-noise: over 99 dB- Power supply: +/- 16V- Current consumption: 70mA- Dimensions: (h*w*d) 132x37x158mm- Mass: 900g.
S-Type 500
The S-Type 500 is best known for its ability to replicate the buss compressor of the legendary British large format console. The heart of the compressor is the THAT integrated circuit instead of the now unavailable DBX. The analog path is balanced with ultra-fast op-amps. This is the source of the completely transparent sound. A minimal level of noise allows the device to be used in any musical setting. We have added Sidechain HPF, which allows the user to select the lowest frequencies to pass the unit uncompressed, enabling your mixes to breathe and avoid pumping.
Sidechain functionality
IGS S-TYPE 500 is a stereo compressor, featuring a large GR meter and four fast, modern op-amps on inputs and outputs, providing the perfect balance of this stereo circuit. Two channels of the unit are being summed together and used to control both VCA stages. This allows you to use the S-TYPE 500 as an external side-chain compressor, where the signal goes through EXSC input. Last but not least, the MIX knob allows for parallel compression, so you can crush the living hell out of your tracks, and blend them with the dry signal for that NY drum sound. Overall, the S-Type is a very creative device.
Your stereo buss deserves better
IGS S-Type gives you the sound of compression from your favorite records, it's the magic glue for your mixes. It’s really hard to make it sound bad - from a gentle hug to an aggressive crush and anywhere in between.
Springtime - Analog Studio Reverb
Design
The IGS Springtime is a 4-channel analog studio reverb built using pairs of springs. One short and one long pair. Every channel has separate wet and dry volume knobs. Also each channel has a 3 band EQ for the wet signal.
What it does
The Springtime fills your room with sound. It glues your mix and enriches the individual tracks. It adds lovely warm color to the midrange. Without EQ, it sounds perfect. With EQ, you can add more definition if you need it.
Everyday use
Try stereo buss send for music tracks to channel 3 and 4 (long springs), mono vocal to channel 1 (short) plus any solo, mono instrument to channel 2 (short). Sometimes even individual instruments can be sent to both kinds of springs in parallel. If you plug it into the insert use 100% Dry and 10% Wet. On sends use 100% Wet, 0% Dry.
IGS Audio T4bXIt is widely known that the LA-2A unique character is a result of the applied T4B photocell. In the original TELETRONIX design a electroluminescent panel provided a light source for the photo resistors. This component was very variable in parameters, and this affected the result compression and stereo image of the audio.In IGS Audio we developed a new photocell parallel to the T4BX. By precisely selecting, testing and pairing subcomponents used in the assembly of this photocell we have created a product line consisting of nearly identical devices in parameters and sound.Recently I had an opportunity to gather together a few T4B photocells used in the legendary TELETRONIX LA2A. Basing on the IGS 2LA replica I compared the T4B opto-cuplers. The T4B photocell is the single most important element responsible for the compressor’s sound. Every T4B circuit is composed of an electroluminescent panel (EL panel) and 2 photoresistors. One of them reduces gain and the other influences the meter. The setting for the compressor are: GAIN 60, PEAK REDUCTION 100.
Once when I was a little boy, I heard my uncle's equalizer which he built into his stereo. The sound was incredible. I still remember it to this day. Three potentiometers gave it a sound that I'd never heard before. I couldn't stop listening to the sound that his compact payer made.
My uncle Chris
I asked my uncle for the diagram and he drew it with a pencil on a piece of paper. I quickly learned the scheme by heart and as an electronic engineer amateur, I repeatedly build the hi-fi amplifiers using the scheme. The EQ sounded implausible each time.
After many years
After many years I decided to make a studio device based on my uncle's scheme. I improved the arrangement by adding a transformer balanced tube stage. The Tilt turned out to be a cool addition too. This vintage circuit is very useful in any mastering application. I hope, you will feel the vibe of my uncle's old radio equalizer.
improved the arrangement
After many years I decided to make a studio device based on my uncle's scheme. I improved the arrangement by adding a transformer balanced tube stage. The Tilt turned out to be a cool addition too. This vintage circuit is very useful in any mastering application. I hope, you will feel the vibe of my uncle's old radio equalizer.
Once when I was a little boy, I heard my uncle's equalizer which he built into his stereo. The sound was incredible. I still remember it to this day. Three potentiometers gave it a sound that I'd never heard before. I couldn't stop listening to the sound that his compact payer made.
My uncle Chris
I asked my uncle for the diagram and he drew it with a pencil on a piece of paper. I quickly learned the scheme by heart and as an electronic engineer amateur, I repeatedly build the hi-fi amplifiers using the scheme. The EQ sounded implausible each time.
After many years
After many years I decided to make a studio device based on my uncle's scheme. I improved the arrangement by adding a transformer balanced tube stage. The Tilt turned out to be a cool addition too. This vintage circuit is very useful in any mastering application. I hope, you will feel the vibe of my uncle's old radio equalizer.
improved the arrangement
After many years I decided to make a studio device based on my uncle's scheme. I improved the arrangement by adding a transformer balanced tube stage. The Tilt turned out to be a cool addition too. This vintage circuit is very useful in any mastering application. I hope, you will feel the vibe of my uncle's old radio equalizer.
€2,399.00*
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