Tube-Tech MEC 1A Recording Channel
The rackmount Tube-Tech MEC 1A recording channel combines the MP 1A microphone and DI preamplifier, EQ 1A equalizer, and CL 1B optical compressor. It doesn't get any better than that baby! The MEC 1A is designed and hand crafted to deliver the warmth of vintage quality recordings with unrivaled accuracy, purity, and realism. You couldn't ask for a better front end for your DAW!Tube-Tech MEC 1A Recording Channel, First Take: All-tube channel strip comprising MP 1A preamp, EQ 1A equalizer, and CL 1B compressorMicrophone preamp: The microphone preamplifier consists of a microphone input transformer (with a static screen) with a step-up of +10 dB, two dual tube preamplifiers with two stepped gain switches, one with 10dB/step (coarse) and one 1dB/step (fine) giving a total gain range of +20dB to +70dB. The microphone input is provided with a switchable -20dB attenuation (PAD), switchable +48 V phantom-power and phase reverse. A highpass filter for the microphone and the DI input is switchable between off, 20 Hz and 40 Hz. For more information, check out the Tube-Tech MP 1A (# 182001)The microphone input is capable of accepting levels of up to +6 dBU (1.55V) at 40 Hz without the PAD. With the PAD switched into the circuit, the MEC 1A can be used as a unity gain line amplifier accepting levels up to +26 dBU (15.5V) at 40 Hz. The high impedance DI input is unbalanced and placed in the circuit directly after the input transformer. The gain range for this input is +10dB to +60dB. When in use, the microphone input is disabled. Equalizer: You'll love the sound of this EQ. It performs exactly as you would want a high-end EQ to. With minimal tweaking, you can add all of the punch, polish, and air you like to make your recordings stand out. The equalizer features low and high shelving filter with a gain range of +/- 15dB, each with 6 switchable frequencies and a band filter with a gain range of +/- 20dB, 12 switchable frequencies and a bandwidth control. The shelving and the bell filters are designed around a dual tube operational amplifier. The equalizer has a separate in/out switch. For more information, check out the Tube-Tech EQ 1A (# 182019)Compressor: The compressor is the same type optocompressor found the the Tube-Tech CL 1B, the vocal compressor of choice for so many top producers and engineers. It has controls for ratio, threshold, attack and release. A switch selects between manual attack and release and fixed attack and release. With the link switch it is possible to link several units together on two independent bi- directional buses. The compressor has a separate in /out switch. In normal operation the equalizer is in front of the compressor, but a switch enables the compressor to be in front of the equalizer. For more information, check out the Tube-Tech CL 1B (# 182025)About Tube-Tech For 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...details

Tube-Tech CL 2A Dual Compressor
If one channel of Tube-Tech compression isn't enough for you, here's the Tube-Tech CL 2A Dual Compressor, which features two independent optical compressors-it's like having two CL 1Bs, giving you the added advantage of stereo compression for keyboards, drum overheads, bass (mic + DI), stereo bus, and multi-mic recording. Of course, just like the CL 1B, it absolutely shines on vocals. Once you have Tube-Tech compression in your signal path, you'll wonder how you ever recorded without it. Tube-Tech CL 2A Dual Compressor, First Take: All-tube amplified optocompressor with non-degrading gain reduction element Two link busses allow up to ten CL 2As can be linked together Balanced I/O and floating transformers All-Tube Amplified Optocompressor The rack mount Tube-Tech CL 2A compressor is a dual optocompressor with the optical gain reduction element placed after the input transformer and then followed by an all tube-based output amplifier with a +10 dB gain. Therefore, the signal is not fed through any semiconductor circuitry on its way to the output, which contributes to the signal clarity of the CL 2B. Additionally, The optical gain unit does not experience any degradation over the long term, providing nearly infinite life. The amplifier is based on two tubes (dual triodes) in push-pull configuration (one ECC 83 as a differential amplifier, and one ECC 82 as the output stage), and an output transformer. The power supply for the differential amplifiers is stabilized and the heaters of all four tubes are fed with a stabilized DC voltage. Stereo and Multi Link Mode A switch with three positions (Link 1, Off, Link 2) is used whenever you want to use the two separate compressors in stereo mode or link several compressors together. The two link busses are identical. Sidechain sockets for interconnection of several compressors are located on the rear panel. A switch on the front selects which compressors are interconnected, and on which bus they are connected. If you e.g. have 10 compressors in a rack, you can select compressor 1,5,7 and 8 on link 1, and compressor 2,3,6 and 9 on link 2, leaving compressor 4 and 6 in the off position. Compressors 1,5,7,8 would now be interconnected and all four will perform the same compression. This applies to compressor 2,3,6 and 9 as well. Compressor 4 and 6 are independent. The interconnection implies that the unit that performs the most compression is controlling the others. Additionally, you can choose which one you want to control the others. Balanced I/O and Floating Transformers Microphone Input/Output are balanced and have fully floating transformers with a static screen. Floating a transformer (not referencing it to ground) provides maximum electronic isolation for superior noise rejection. The static screens shield the transformer's secondary windings from the primary and prevent RF (radio frequency) electromagnetic noise from getting across. The power supply and the sidechain circuits are ba...details

Tube-Tech LCA 2B 2-Channel Compressor and Limiter
The two-channel Tube-Tech LCA-2B offers all-tube compression with the added flexibility an independent compressor and limiter per channel. It's perfect for drum overheads, stereo room mics, stereo guitar, bus compression, and just about any other stereo source you have in mind. You also have the option of inputting two mono sources, compressing on one while limiting on the other. Tube-Tech LCA 2B Compressor/Limiter, First Take: All tube, 2-channel with independent compressor and limiter per channel 6 attack/release presets and manual control Multi-unit link modeIndependent Compressor/Limiter The rackmount Tube-Tech LCA 2B is a two-channel unit with an independent compressor and limiter per channel. The unit is all-tube based (except for the power supply and sidechain circuit). Output gain control is placed between the VCA and output stage. The VCA (1 dual triode) is placed between the input transformer and the output stage (2 dual triodes). The audio signal is picked up after the VCA and fed to the sidechain circuit.Six Presets and Manual Control The stereo compressor has six attack/release presets as well as manual control. The limiter attack/release is fixed and equipped with an on/off switch. The LED display is fed from the control amp. The limiter LED is fed from the limiter buffer. The audio path is fully symmetrical from input to output. Input and output have fully floating transformers. All DC voltages are stabilized, except the anode voltage for the output stage, which is only filtered.Link Mode The control signal from the compressor and limiter is combined and sent to the link switch and to the control amp, which feeds the VCA. The bi-directional link busses are accessible at two 1/4" stereo jack sockets on the rear panel. The channels can be linked together for stereo applications and also linked to other LCA 2B's via the two link busses and a standard stereo jack/jack cord. A switch (Link 1, Link 2) on the front panel selects which compressors are interconnected, and on which bus they are connected. If you select Link 1 on both channels, they will perform the same gain reduction. With several LCA 2B compressors in a rack, you can select which ones will work together. For example, by selecting LCA 2B #1, Ch. 1 on link 1; LCA 2B #2, Ch. 2 on link 1, and LCA 2B #3, Ch. 1 on link 1, they are now interconnected and will all act with the same compression. By interconnecting them in this fashion the unit that performs the most compression controls the others. It is also possible to have all the interconnected compressors control each other simultaneously.About Tube-Tech For 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 (di...details

Tube-Tech SMC 2B Stereo Multi-Band Compressor
The rackmount Tube-Tech SMC 2B Stereo Multiband Compressor is an all tube-based compressor that adds the warmth of vintage quality masters to your mix. If you've heard records by Beck, Offspring, Rufus Wainright, and All American Rejects, you'll find a Tube-Tech SMC 2B Multi-band compressor in the hands of Joe Chiccarelli strapped across the stereo bus.Tube-Tech SCM 2B Stereo Multi-band Compressor, First Take: Multi-bandband compression and variable crossover points let you craft your overall mix Three independent stereo optocompressors Flat frequency response across all three bands Balanced I/O and floating transformersVariable Crossover the Tube-Tech SCM 2B's variable crossover points ensure precise control with all three bands of optocompression. Independent band specific Threshold, Ratio, Attack, Release & Gain parameters make the SMC 2B as flexible as it is accurate. For example, a stereo compressor can squash and muddy the midrange of rock records. With the SMC 2B, you can add just the slightest compression to the midrange where the guitars live to keep them vibrant and lively. The adjustable crossover points allows you to set the low-frequency range so that the bass on dance tracks won't get over-compressed. Three Stereo Optocompressors The Tube-Tech SMC 2B Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid & High) by 6 dB/octave x-over networks with variable frequencies: 60-1200 Hz for Low/Mid band and 1,2-6 kHz for the Mid/High band.Flat Frequency Response The design of the crossover networks optimizes the summing of all three bands, resulting in a flat frequency response (within +/-0.25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls. Balanced I/O and Floating Transformers Both Input and Output are balanced and have fully floating transformers with a static screen, which provides the greatest amount of electronic isolation for elimination of ground loops, resulting in super-quiet operation. The power supply and the sidechain circuit are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilized.About Tube-Tech For 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 t...details

Tube-Tech PE-1C Program Equalizer
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 EQ Tube-based gain-makeup amplifer Balanced I/O and Floating TransformersPassive EQ The 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 Transformers Input 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-Tech For 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 t...details

Tube-Tech SMC 2BM Mastering Multi-Band Compressor
The Tube-Tech SMC 2BM is the only all-tube based stereo mastering compressor that features multiband compression. Designed specifically for mastering, it offers Tube-Tech's renowned sound quality and precision, plus greater flexibility for the mastering engineer. Based on Tube-Tech's SMC 2B, the SMC 2BM adds matched resistor level controls for precise replication of previously used settings. The 12 step-matched resistor gain controls on the SMC 2BM guarantee channel to channel and recall accuracy within 0.1 dB. Side-chain controls employ 31-detent potentiometers. The unit includes variable crossover points for precise control of all three bands of opto-compression. Independent band-specific threshold, ratio, attack, release and gain parameters make the unit flexible, as well as accurate. Tube-Tech SMC 2BM Stereo Multiband Compressor, First Take: Three independent optical stereo compressors 3-bands with adjustable crossover points Balanced I/O and Floating TransformersThree Independent Optical Stereo Compressors The rackmount Tube-Tech SMC 2BM Stereo Multiband Compressor features three independent optical stereo compressors. The three compressors feature Threshold, Ratio, Attack, Release, and Gain controls, and a display showing gain reduction. Master levels are set with Output Gain and Balance controls. Three bands with Adjustable Crossover Points The signal is divided into three bands (Low, Mid & High) by 6dB/octave crossover networks with 12 selectable frequencies: 60 — 1200Hz for Low/Mid band and 6 selectable frequencies: 1.2 — 6.0 Hz for the Mid/High band. The design of the crossover networks optimizes the summing of all three bands, resulting in a flat frequency response (within +/-0.25 dB), when the gain controls for each band are set at the same level. The two crossover frequencies are made with a single RC circuit thereby preserving optimum summation of the three bands at the output. Balanced I/O and Floating Transformers Both Input and Output are balanced and have fully floating transformers with a static screen. This provides maximum electronic isolation for superior noise rejection. The power supply and the sidechain circuit are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilized.About Tube-Tech For 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...details

Tube-Tech EQ 1A Full Range Equalizer
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 equalizer High- and low-cut filters 25kHz cut for anti-aliasing filters High- and low-cut shelving EQ sections and three overlapping bandsAll-Tube Based Parametric EQ The 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 Filters Of 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 EQ The 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 off...details

Tube-Tech MP 1A Microphone Preamplifier
The Tube-Tech MP 1A dual channel preamp and instrument DI has been one of the secrets that engineers and producers have kept to themselves for bringing the rounder and more pleasing sound of analog gear to digital recording. And where some preamps tend to work well with certain mics but not others, the MP 1A also has the uncanny ability to make any mic your put through it sound great. A truly phenomenal-sounding preamp, the MP 1A excels on electric guitars and vocals. To give you an idea of its versatility, the MP 1A has been part of Julio Iglesias' vocal chain for years and is the preamp that Frank Fillipetti used to record Johnathan Davis' vocals on Korn's Take a Look in the Mirror.Tube-Tech MP 1A, First Take: Dual channel all-tube mic preamp and instrument DI Designed for ultra low-noise operation Switchable —20dB pad, can be used as a unity gain line amplifier, +70dB mic input gain DI input with switchable high-pass filter and +60 gainDual Channel All-Tube Mic Preamp And Instrument DIThe rackmount Tube-Tech MP 1A microphone preamplifier is a combined two channel microphone and DI preamplifier. Each amplifier consists of a microphone input transformer with a step-up of +10 dB, a dual tube preamplifier with a stepped gain (5dB/step, passive and active), an output amplifier with two dual tubes in push-pull and an output transformer. The high impedance DI inputs are unbalanced and placed in the circuit directly after the input transformer, with a gain ranging from +10dB to +60dB.Designed For Ultra Low-Noise Operation The amplifiers are all tube based and the heaters are fed stabilized DC-voltage only. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion or hum. All transformers, with the exception of the mains transformer, are enclosed in MU-metal cans. MU-metal (pronounced mew-metal) is a highly permeable alloy that absorbs and redirects interfering magnetic fields away from the transformers. Input and output transformers come with a static screen between the primary and secondary wirings. These screens shield the secondary from the primary and prevent RF (radio frequency) electromagnetic noise from getting across.Switchable Pad, +70dB GainThe microphone inputs are provided with a switchable -20dB attenuation pad in front of the mic transformer and switchable +48V phantom-power. The microphone input is capable of accepting levels of up to +6 dBU (1.55V) at 40 Hz without the pad and +26dBU (15.5V) at 40 Hz with the pad, so the microphone input can be used as a unity gain line amplifier*. The gain switch for the mic inputs has a range from +20dB to +70dB in steps of 5dB, which allows use with ribbon mics. A high pass filter for the microphone and the DI input is switchable between off, 20 Hz (12dB/octave) and 40 Hz (6dB/octave). It is advisable to use this filter in environments with high levels of very low-frequency disturbances. Gain errors b...details

Tube-Tech MMC 1A Mic Preamp and Multi-Band Compressor
The Tube-Tech MMC 1A, fast becoming a favorite of certain world-class producers, is a very unique unit in a sea of me-too channels strips. Along with a phenomenal-sounding tube preamp, it features an optocompressor with three bands, low, mid, and high, and adjustable crossover points so yo can compress each band individually. This allows you to tailor compression for problem solving or to create a vocal track that's truly larger than life. Thanks to its variable crossovers, you can use it to add body to thin vocals, allow the top end to open up during soft passages, reduce harsh midrange without losing lows and highs, tame highs without losing clarity for a more intimate sound, and all the while, save EQ for other purposes.Tube-Tech MMC 1A Preamp and Mulitband Compressor Channel strip with all-tube preamp and three-band compressor Variable impedance preamp with +70dB gain 3-band compressor with variable crossover points Balanced and fully floating I/OChannel Strip With All-Tube Preamp And Three-Band Compressor The Tube-Tech MMC 1A is a complete front-end. It includes an additional Direct Instrument input as well as a separate line input. The microphone input has switchable loading impedance, phantom power, phase reversal and a —20 dB Pad. All inputs are equipped with a low-cut filter. The 3-band optical compressor is designed to maintain optimum summing of all three bands with a remarkably flat frequency response. A bypass switch takes the entire compressor out of the signal path.Mic Preamplifier The microphone preamplifier consists of a microphone input transformer (with a static screen) with a step-up of +10 dB, two dual tube preamplifiers with a stepped gain switch, with 10dB/step (+20 dB - +60 dB) giving a total gain range of +20dB to +70dB. The microphone input is provided with a switchable -20dB attenuation (PAD), switchable +48V phantom-power, a phase reverse and has swithable input impedance (600, 1200, 2400 Ohm). The high impedance DI input is unbalanced and placed in the circuit directly after the input transformer. The gain range for this input is +10dB to +60dB. When in use, the microphone input is disabled. A high pass filter for the microphone, DI and line input is switchable between off, 20 Hz (12dB/octave) and 40 Hz (6dB/octave). All inputs have a common stepped gain switch with 2dB/step (-10dB - +10dB).Compressor The signal is fed to the two crossover networks, each made with a single RC circuit thereby preserving optimum summation of the three bands at the output. The crossover frequency between the low band and the mid band is variable from 60Hz to 300Hz or 240Hz to1200Hz and the crossover frequency between mid band and the high band is variable from 1,2kHz to 6kHz. The signals from the three bands are then fed to the three separate side chain circuits, each common for left and right channel. After processing, the three signals are fed to a gain control, separate for each band and thereafter summed and send to the out...details

Tube-Tech SSA-2B Stereo Summing Amplifier
Yes, you can mix inside the box and get good results, but with the Tube-Tech SSA 2B Stereo Summing Amplifier, you can mix inside a much better box and get stunning results. Where extremely high-quality summing of several signals into two channels is desired (and where isn't it?), the SSA 2B is a top choice. Tube-Tech SSA 2B Stereo Summing Amplifier, First Take: Ultra high-quality summing amplifier with very wide frequency response 8 stereo/4mono inputs summed to 2 channels out Inputs balanced by zero field transformer Balanced and fully floating outputsUltra High-Quality Summing Amplifier The rackmountable Tube-Tech SSA 2B Stereo summing amplifier features two very low-noise, low-distortion summing amplifiers with a very wide frequency response of 5Hz — 100 kHz. The inputs are transformer balanced and the circuits are symmetrical from input to output. The inputs are also capable of handling extremely high input levels. 8 Stereo/4 Mono Inputs Summed to 2 Outputs The Tube-Tech SSA 2B summing amplifier has 4 mono input (hard wired to CH1 and CH2) and 8 stereo inputs, which are summed to two outputs. The SSA 2A consists of a summing amplifier at the input, a 23 stepped attenuator with a range of +/- 10 dB and an output stage. Two large VU-meters show the levels on the XLR output sockets. To avoid the distortion introduced by the VU-meters when connected directly to the output XLR sockets, symmetrical configured OP- amps buffer the VU-meters. The summing amplifier is a symmetrical two-stage amplifier, designed around two dual, low impedance, and high transconductance triodes. The input transformer is part of the dual feedback configured as a so-called zero field transformer. The attenuator is a heavy gilded 2 x 23-position switch with steps of +/- 0.5, 1, 1.5, 2, 2.5, 3, 4, 5, 6, 8, 10dB. The output stage is designed around two dual triodes in push-pull and an output transformer (with a static screen). Both the summing amplifiers and the output amplifiers are symmetrical. Zero Field Transformer-Balanced Inputs All inputs on the Tube-Tech summing amplifier are balanced by two zero field transformers (one for each channel). In zero field transformer configurations, the transformer is part of the feedback circuit. There are several benefits to be derived from this: 1. The voltage across the transformer is reduced substantially, whereby a much smaller transformer is needed for the same specification. The reduction is of the same magnitude as the feedback applied. 2. The distortion at low frequencies is reduced substantially. 3. Frequency response in both the low and high range is extended. 4. Phase response in both the low and high range is more linear. The results are better harmonic balance of the instruments and more realistic sound.Balanced and Fully Floating Outputs The outputs are balanced and have fully floating transformers with a static screen. Floating a transformer (not referenced to ground) provides maximum electronic isolation for...details

Tube-Tech EQ 1AM Full Range Mastering Equalizer
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 equalizer High- and low-cut filters 25kHz cut for anti-aliasing filters High- and low-cut shelving EQ sections and three overlapping bands with stepped rotary controls for gain and bandwidthAll-Tube Based Parametric EQ The 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 Filters Of 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 EQ The 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 ampl...details

Tube-Tech ME 1B Midrange Equalizer
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 amplifier Three sections of selectable EQ Balanced and fully floating I/OPassive EQ with Tube Amplifier The 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 Sections Using 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/O Both 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 th...details

Tube-Tech CL 1B Compressor
The all-tube amplified Tube-Tech CL 1B Compressor has become to go-to compressor for top studios, producers and engineers. Known for the marvelous sonic characteristics it imparts without making its presence obvious, the CL 1B particularly shines on vocals. The CL 1B also offers the ability to link up to ten units together and a unique attack/release feature, not found on other compressors, that enables two CL 1Bs to provide program-dependent, overall mix compression.Tube-Tech CL 1B Compressor, First Take: All-tube-amplified optocompressor Non-degrading gain reduction element Unique Fix/Man control allows automatic program-dependent operation Link bus allows up to ten CL 1Bs to be linked together Balanced I/O and floating transformersAll-Tube Ampifier 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. The power supply for the preamp and phase splitter are stabilized and the heaters of both tubes (valves) are fed with a stabilized DC voltage. The whole amplifier (including input and output transformer) and the power supplies are placed on one PC-board. Both input and output are balanced (600 Ohms) and fully floating. The in/out key switches the compressor in and out without clicks.The side chain is the only part of the compressor that contains semiconductors. They are used for three reasons: First, they do not affect the sound reproduction. Second, they have a high slew rate, which is of importance for the performance of the compressor in regard to how fast it responds to input signals, and third, they don't take up much room. It contains two J-FET quad op-amps, one npn-transistor and one FET-transistor, which handles the signal for the gain-reduction element. Non-Degrading Gain Reduction Element The CL 1B differs from many other compressors, in that the gain reduction element is made from a non-semiconductor element, which in itself has a very low harmonic distortion and none of the non-linearity problems involved when using most semiconductor elements. Furthermore there is no long-term degradation of the element thus giving it almost infinite life. This signal processor is placed after the input-transformer of the compressor and followed by an all tube-based amplifier with a gain of 0dB to +30 dB. Thus the signal is not fed through any semiconductor circuitry on its way to the output. Unique Fixed/Manual Attack and Release Control To control attack and release, the CL 1B contains two time constants circuits: fixed attack and release times and variable attack and release times. The three position attack/release select switch makes it possible to use these two circuits separately, or combine their functions. This setting (Fix/Man) provides a unique feature not available in other compressors. In the combined mode, the attack- and release controls make it possible to obtain a complex release-time slope that is progr...details