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[CLICK BELOW FOR DETAILED DESCRIPTIONS AND PHOTOS]
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Microphone & Line Preamplifiers
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AUDIX 35102
British-made with mic/line inputs & EQ. Commissioned by BBC in the 70's to the same specs as the Neve 33114. Same frequency points and similar architecture. Airy top-end and tight yet full lows with a wonderfully sweet sounding inductor based EQ section. (SPECS, PHOTOS, & HISTORY) |
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CALREC PQ1161Discrete British-made with mic/line inputs & EQ. Commissioned by BBC in the 70's to the same specs as the Neve 33114. Same frequency points and architecture and similar sound. Silky top end and nice and punchy with a smooth sounding inductor based EQ. (SPECS, PHOTOS, & HISTORY)
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NEUMANN PMV 70
70's all discrete w/ transformer balanced in's and out's. A bit softer and rounder than their V476B offspring yet beautifully smooth and defined with a clear yet warm feel. Extremely high signal/noise ratio & 76 dB gain make them an absolute must-have for ribbon mic enthusiasts. (SPECS, PHOTOS, & HISTORY) |
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NEUMANN PV 76
Neumann's first 76dB solid-state mic pre with adjustable gain. Simply stellar late 60's discrete circuit construction. Transformer coupled inputs and outputs, two active inductors, and an additional transformer per channel give these a wonderfully unique presence and thickness. (SPECS, PHOTOS, & HISTORY) |
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NEUMANN V476B
Punchy yet well-defined classics from Neumann. All discrete w/ transformer balanced in's and out's, these have a smooth mid-range definition and color character that one would expect from Neumann. The most widely used of Neumann's preamps. Often w/ consecutive serial numbers. (SPECS, PHOTOS, & HISTORY) |
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P.E.I. SERIES 10
Maryland made transformerless mic/line preamps with up to 70 dB of gain. The circuit is super clear, quiet, and direct. A very natural sounding module where what comes in goes out with very little compromising of the signal source. (SPECS, PHOTOS, & HISTORY) |
CIRCUITRY
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RCA BA-72A
Made in Camden New Jersey, these mid-sixties preamps sport all discrete circuitry with input and output transformers. These four transitor versions are a very excellent match with your high output condenser microphones to achieve a very smooth and classic tone and are also very nice on anything needing a big and thick low-end. (SPECS, PHOTOS, & HISTORY) |
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RFT MV810/2 (sold out)
From the East German broadcast technology conglomerate RFT (Radio Fernseh Technik- means "Radio Television Technology/Engineering"), these all discrete preamps are astonishingly well built. With a design likely overseen by Telefunken (ELA-Technik) engineers, these are rich, and warm throughout and soft and silky on the top. RFT V742C line amps of similar design available for complete rack. (SPECS, PHOTOS, & HISTORY) |
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RFZ KV-800 (sold out)
Built in East Berlin, these preamps are very well built and their design was likely overseen by Telefunken (ELA-Technik) engineers. All discrete w/ mic and line inputs these are seriously punchy, quiet, and a bit aggressive w/ rather large input transformers. (SPECS, PHOTOS, & HISTORY) |
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SIEMENS PM-UV
These West German preamps feature mic inputs, 76dB of gain, and very nice input and output transformers. Punchy in the low-end yet possessing a nice mid-range presence, these fall somewhere in-between a Telefunken V672/2 and a Neumann V476B in sound. (SPECS, PHOTOS, & HISTORY) |
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TELEFUNKEN V672
Made in West Germany, these all discrete amplifiers can be modified into an excellent sounding, very well-rounded preamp with tight yet full low-end and a great mid-range presence. These feature absolutely stellar input and output transformers and 65dB gain once modified and racked. (SPECS, PHOTOS, & HISTORY) |
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TELEFUNKEN V672/2
Made in West Germany, these amplifiers can be modified into an excellent sounding, very well-rounded preamp that sounds somewhere in-between a V672 and a V676A. These feature absolutely stellar input and output transformers (generally different output XFRM's than the V672) and 65dB gain once modified and racked. (SPECS, PHOTOS, & HISTORY) |
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TELEFUNKEN V676A
The most widely known of West German transistor based preamps, these feature 76dB of gain and mic and line inputs. These have a brilliant top-end to them and sound very open and airy, yet tight and solid in the low end. (SPECS, PHOTOS, & HISTORY). |
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Channelstrips
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AUDITRONICS 110B
Made in Nashville, these beauties feature a discrete mic/line input section, a very handy and smooth EQ, large Jenson input transformers, and a nicely round low-end. Superior sound is achieved when they are custom racked and modified rather than in the original consoles. (SPECS, PHOTOS, & HISTORY) |
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NEOTEK SERIES 1
From Chicago, these have mic/line inputs and are quiet and incredibly lifelike with a very musical EQ. These things build up really well when it comes mix time and a slight low-mid warmth gives them an added bump over typical transfomerless mic pre's. (SPECS & PHOTOS) |
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NEOTEK SERIES 1E
Virtually the same as the Series 1 except with an absolutely stellar four band sweepable EQ section. The EQ is very smooth and musical with narrow Q options for added precision if desired. These are real versatile workhorses & are absolutely killer with Sowter or St. Ives trafos. (SPECS, PHOTOS, & HISTORY) |
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STUDER 169
These Swiss made channels are our best selling items to date. These feature transformer balanced mic/line inputs and inductor based EQ & were designed for location music recording. They're ultra smooth and clear with a very gentle yet warm color plus a dream of a musical EQ. (SPECS, PHOTOS, & HISTORY)
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Filters/Equalizers
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ANT W695B
These West German EQ's have 3 bands with 11 center frequencies and a 3-position Q-switch per band long with transformer balanced inputs and outputs. Designed as mastering EQ’s, they are smooth and clear, with a slightly aggressive/punchy presence. Often new old stock out of the box, these are very flexible and come often w/ consecutive numbers. (SPECS, PHOTOS, & HISTORY) |
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ANT W696B (sold out)
Virtually the same as the W695B except with high and low pass filters and a slightly different frequency scheme. As with the W695B, the design is based on late 70's designs from the Swiss company Filtek. Often new old stock out of the box with consecutive serial numbers. (SPECS, PHOTOS, & HISTORY) |
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BFE MK5B
Based on the original Swiss design by their Filtek predecessor, the German company BFE designed these 3 band EQ's. Each band has 12 center frequencies and a 2-position Q-switch per band with transformer balanced inputs and outputs. Designed as mastering EQ’s, they are smooth and clear with excellent input and output transformers. (SPECS, PHOTOS, & HISTORY) |
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FILTEK MK4
Designed in Switzerland in the late 70's, each of 3 beautifully overlapping bands has 11 center frequencies. These are clear and super quiet with bit of warmth, and have input and output transformers plus a very nicely shaped Q-curve. Often new old stock out of the box. (SPECS, PHOTOS, & HISTORY) |
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NEUMANN PEV
The first EQ from Neumann and brother to the PV-76 preamps, these feature amazing discrete interior construction with transformer balanced inputs and outputs and a high quality Neumann active inductor per band. Their sound and color are absolutely unique and fantastic. (SPECS, PHOTOS, & HISTORY) |
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NEUMANN W491A
With three beautifully overlapping bands each with 11 center frequencies and a two position Q-switch, these are nicely smooth with a very gentle color character. They are nicely flexible and are a very powerful mix-bus quality frequency-shaping tool. (SPECS, PHOTOS, & HISTORY) |
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NEUMANN W495B
Widely regarded as the best EQ's made by Neumann, these were found originally on all Neumann mastering transfer desks and often on the stereo bus of Neumann consoles. They are all discrete with input and output transformers & three smooth and very sweet sounding bands. (SPECS, PHOTOS, & HISTORY) |
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RFZ FB-80 (sold out)
Built in East Berlin and distributed by RFT, these all-discrete 3-band passive shelving EQ's were very well built and likely designed by Telefunken (ELA-Technik) engineers. Due to their very solid and punchy low-end tone, they are very nice on drums. (SPECS, PHOTOS, & HISTORY) |
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SIEMENS W295B
Made is West Germany, these discrete 3-band classics have great low-end and some of THE smoothest and silkiest highs we’ve ever heard (including Pultec, GML and others). They have a nicely present color and transformer balanced inputs and outputs. Serious tone shapers. (SPECS, PHOTOS, & HISTORY) |
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TAB W95C
These were the first West German made transistor based 3-band EQ's and sport perhaps the coolest knobs we’ve ever seen. They have a nicely present color with a smooth high end, active inductors, and transformer balanced inputs and outputs. Again, serious tone shapers. (SPECS, PHOTOS, & HISTORY) |
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TELDEC MPE30
Custom designed for the classical mastering division of Teldec Records, these discrete stereo mastering program equalizers are passive with fixed high and low shelving EQ's. They're rather difficult to get to sound harsh or muddy and are very rare. Great on the 2-bus. (SPECS, PHOTOS, & HISTORY) |
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TELEFUNKEN W695
These 3-band discrete classics were designed with tone shaping in mind. Lows are full yet unmuddied, highs are smooth, and they have some nice and chunky guitar pleasing mids. EQ'ing always seems to bring out a warm and pleasant color character yet they are clear enough to strap on the mix-bus without worries of excessive phase distortion. (SPECS, PHOTOS, & HISTORY) |
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Dynamics Control (Compressor/Limiters)
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BARTH U311
Made in Hamburg, these mastering compressor/limiter/gates use the DBX 202 VCA (used in the original SSL G Series mix bus compressors). They are nicely flexible and tend to be more on the clear side, but their sound ranges from subtle to creamy when pushed hard. (SPECS, PHOTOS, & HISTORY) |
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BFE BKE4
These German mastering compressor/limiter/de-essers are based on the Neumann U473 design and have transformer balanced inputs and outputs. They're nicely flexible and super clear and you can do rather large amounts of gain reduction without significant tone alteration. (SPECS, PHOTOS, & HISTORY) |
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EMT 256
These compressor/expanders from the German legends at EMT have transformer-balanced inputs and outputs and are definitely one of a kind units. Their sound ranges from clear with moderate levels to squishy in the realm of a Fairchild when pushed harder. (SPECS, PHOTOS, & HISTORY) |
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EMT 261
Virtually the same as the 256 in architecture, but these are also limiters and can be even more drastic than the 256's when pushed hard. They have a different internal wiring scheme (but the actual circuit is quite similar), and 12dB of makeup gain rather than 18dB on the 256. (SPECS, PHOTOS, & HISTORY) |
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FILTEK BKE1
These Swiss made mastering compressor/limiter/expanders with a de-esser setting have transformer balanced inputs and outputs and are very smooth, detailed, and quite transparent. Mixbus quality. (SPECS, PHOTOS, & HISTORY) |
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PACIFIC RECORDERS MULTIMAX
Made in San Diego by one of the top 70's/80's broadcast audio manufacturers in the United States, these 3-band multi-band compressor/limiters have Jensen transformer balanced inputs and outputs, low, mid, and high band compression options, and are designed for broadcast stereo program use. (SPECS, PHOTOS, & HISTORY) |
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SIEMENS U273
These West German discrete compressor/limiters have transformer-balanced inputs and outputs & are reported to have been the inspiration for the first Neve 225x series compressors. They are very smooth and round at normal levels and when pushed they are a great thick, squashed, and/or grainy effect. Can be modified to have ratio, threshold and release controls. (SPECS, PHOTOS, & HISTORY) |
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TELEFUNKEN/TAB U373A
These West German discrete compressor/limiters have transformer balanced inputs and outputs, a progressive ratio curve (the harder you hit it, the more it compresses), and a fast attack time of around 1ms. They sound quite punchy and can be real smashers when pushed into limiting (SPECS, PHOTOS, & HISTORY) |
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