The latest progression in TC’s Multi-Award winning mastering technology - the Finalizer 96K - delivers unprecedented levels of clarity, warmth and punch to your mix.
The Finalizer 96K's all new set of advanced features and enhancements, including 96kHz internal and external processing truly puts the world of professional mastering within reach of every studio - large or small.
Inserted between the stereo output of your mixer or workstation and your master recording media, the Finalizer 96K dramatically enhances your material, creating that "radio ready" sound - previously unattainable outside a professional mastering house.
Four Channels of Tone-Blending Preamps and 1176-Style Compression with Built-In A/D Converters
The Universal Audio 4-710d is a boutique quality, four-channel microphone/line preamplifier with unique tube and solid-state tone blending capabilities — perfect for a wide range of microphone and instrument sources. This versatile multi-channel preamp offers selectable 1176-style compression circuitry on each channel, plus four additional line inputs feeding eight channels of pristine analog-to-digital conversion. Building upon UA's classic analog design approach, combined with smart modern features, the 4-710d is the most flexible preamp in the UA lineup.
The LA-610 MkII combines an all-tube, vintage mic preamp design — heard on classic albums ranging from The Beach Boys’ Pet Sounds to Van Halen I — with authentic Teletronix T4 opto-compression circuitry. This classic channel strip design, with its warm preamp tone and smooth, natural-sounding compression, is updated with modern, user-requested features like true compressor bypass, larger metering, increased output, and an auto-switching power supply.
The LA-610 MkII also boasts much lower noise specs versus vintage models. Elegant and highly popular “Black on Black” cosmetics complete the package. For the serious project studio looking to ...
Audio professionals passionate about their compressors revere the LA-2A. The original was immediately acknowledged for its natural compression characteristics. A unique electro-optical attenuator system allows instantaneous gain reduction with no increase in harmonic distortion – an accomplishment at the time, still appreciated today.
Universal Audio now announces the rebirth of the Teletronix LA-2A, a Universal Audio Classics product. Painstaking care has been taken to ensure that every new LA-2A provides the performance and characteristics of the original. Each unit is hand built, each component carefully evaluated for authenticity. No expense has been spared to guarantee ...
The Universal Audio SOLO 610 delivers the classic Putnam 610 console sound to the single channel format in a rugged, highly versatile form factor, at a price every project studio can afford. The all-tube SOLO/610 provides the silky vintage warmth of the original UA 610 console used by artists ranging from Sinatra to Van Halen.
The SOLO/610 will flatter the cheapest to the most esoteric microphone with its signature sound. Unlike stationary rack gear, the SOLO/610 can be conveniently used in the control room or recording room, on stage or desktop ...
The Universal Audio 2-610 is a two-channel tube microphone preamplifier based on the legendary Universal Audio 610 modular console. Third in the Universal Audio Classics product line, the 2-610 follows the 1176LN Limiting Amplifier and Teletronix LA-2A Leveling Amplifier in our commitment to authentic analog recording technology.
Designed by Bill Putnam, the Universal Audio 610 was among the first modular recording consoles. Early Universal Audio consoles were used in all of Putnam's studios including Universal Recording in Chicago and United Western in Los Angeles. Many prominent engineers such as Bruce Swedien began their careers in these ...
The original Universal Audio 1176LN designed by Bill Putnam was a major breakthrough in limiter technology – the first true peak limiter with all transistor circuitry offering superior performance and a signature sound. Evolved from the popular Universal Audio 175 and 176 vacuum tube limiters, the 1176LN retained the proven qualities of these industry leaders, and set the standard for all limiters to follow.
Today, the 1176LN is new again. While it certainly would have been possible – and much simpler – to modernize and "improve" the 1176LN, every effort was made to remain faithful to Putnam’s ...
Angelically pure and versatile input section with a choice of three separate input amplifiers; Mic amp, front panel Instrument input or Line input. Designed for transparency and versatility with a set of High and Low Pass Filters, phase reverse and everything you need from a very classy workhorse.
Electronically balanced ultra high bandwidth input with -5dB to +75dB gain control & Pad switch
Continuously Variable input impedance control (1.2kOhm to 10kOhm) can accommodate signals from instruments or be adjusted to suit a wide range of microphones
The XLogic G Series Compressor unit is a 1U rack mounting stereo compressor. It utilises the classic SSL G Series centre compressor design elements within a SuperAnalogue design topology. This brings the dual benefits of spectacular audio performance with a universally acclaimed compressor characteristic.
Legendary SSL G Series stereo bus compressor
Gain reduction meter as fitted to the classic SSL console range
External side chain source select
Auto fade with rate control automatic linear fade in/out control
Remote connector for remote operation of the auto fade function
Chandler's newest series of units starts off with the GERMANIUM pre amp. A completely new design by Chandler Limited designer Wade Goeke that uses classic germanium transistors in all class A, transformer balanced, circuits. The use of germanium devices opens a whole new sound palate not found in any pro audio equipment currently manufactured.
These incredibly smooth sounding transistors were the basis of the earliest transistor designs by Neve (1053, 1055, 1057), EMI ( TG12345 MKI), Telefunken, and Fairchild. Those familiar with these units can attest to the special sound of the germanium tranasistor. The GERMANIUM series runs on +40 ...
The Germanium series continues with the GERMANIUM Compressor. The GERM Comp starts with the same all class A amp found in the GERM Pre and Tone Control and is transformer balanced in and out. The Compression circuit uses a FET gain reduction element but with the tricks and flexibilty of all the GERM units. Some of the most notable additions include a WET/DRY mix (for “submixing” tracks within the comp), COMP CURVE (which selects the knee using various diode combinations), CLEAN/DIRTY COMP, and SIDECHAIN FILTER. Many of the GERM Comp parameters have been purposely set by studio use ...
PreSonus Studio Channel 1-Channel Vacuum-Tube Channel Strip
Impressive headroom and a huge variety of fat sounds.
The Studio Channel’s Class A preamplifier starts with a high-output 12AX7 tube that operates on voltages double that of other preamplifiers in its class. The result is lots of headroom and big tone. Gain and Tube Drive controls enable a wide range of sounds, from transparent and clear to edgy and overdriven. A -20 dB pad, 80 Hz highpass filter, and polarity reverse let you tweak your signals to sit properly in the mix.