Old-school VCA compressor/limiter. Not especially flexible, but works well on kick drum and bass guitar. Modified with UTC transformer installed on the output.
Very usable and excellent sounding (is that possible?) gate. Frequency specific key input feature is very easy to use and the “key listen” function allows the gates to be used as steep hi and/or low pass filters. Good for getting that over-the-phone voice.
Tube driven stereo compressor limiter based on the Fairchild 670. Ours is an older unit with the 6386 vari-mu tubes. Can be pushed hard while remaining surprisingly transparent. Works equally well on individual instruments and master bus applications.
These are combination fast peak limiters and RMS compressors in a single unit. Designed for use in radio broadcast as the last line of defense before the transmitter, these are excellent for squashing signals. The circuit is identical to the Urei BL40, which utilizes an LA3A optical circuit for the RMS compression and an 1176 FET circuit for the fast limiting. Best part is the controls are recessed for the real “set-it-and-forget-it” broadcast-style. Adjustments need to be made with a screwdriver. They even come equipped with a protective guard to prevent nosey engineers from tweaking with the settings. DON’T TOUCH!!!
4 band parametric eq. Switchable shelf/peak on high and low bands. Middle bands are peak only. Q becomes steeper as more boost/cut is added/subtracted. Transformer balanced input and output.
High quality eqs made in Hamburg for the German broadcast industry. Sound is similar to Neumann PEV eq. Inductor based design. High and low shelving plus three bands, high/middle/low of selectable frequencies. Up to 22 dB(!!!) of cut and boost. All switches, no pots. Transformer input/output. Excellent sound/build quality.
Bucket brigade delay with flange, double, echo and infinite repeat settings. Also features modulation controls for chorus or wild martian sound effects.
Designed to phase align 2 signals within the analog domain. Works well for phase aligning direct input signals with miked signals. Also works well just as an instrument DI. Well designed and constructed.
4 microphone inputs and one line input summed to a single, mono output. All tube circuitry and socketed Altec 4722 input transformers. Crunchy and high gain. Great “character” piece.
All discrete, transformer balanced input/output design. Hi-z 1/4" input on front panel. Polarity, +48v phantom power, -20 dB pad, mic/hi-z switch all available on front panel. 7 segment LED VU level display. Tons of gain. Great on everything, except when the source sounds bad. Not a flattering preamp. GIGO.
API 312-style preamp custom designed for our MCI JH-636 mixing board by Nikhil Ranade with the help of Eliot Curtis. The circuit design is dead simple and utilizes a Jensen JE-115K-E microphone input transformer followed by a 2520-style discrete op amp. The output is transformerless. Sonically very similar to the API 312 with less gain range. Distorts nicely when driven hard. We have 12 of these installed in our console.
Solid-state transformer balanced preamp as designed by Bill Putnam for Urei. Racked by Dan Alexander. Excellent sound quality. Same amplifier circuit as the Urei 1176 compressor/limiter.
FET based limiter in a 500 series package. A favorite on bass guitar.