Description
The Retro Instruments 176 is based on a Bill Putnam classic, the UA 176. The 176 faithfully reproduces the sound of the 1960s original with new features for the modern recording studio. The Retro Instruments 176 provides one of the most desirable compression signatures in recording history.
Learn more about the Bill Putnam original.
Features
Authentic variable-mu tube design
Precision Knob scales for easy recallability
Continuously variable attack and release time
Four settings of compression ratio from soft compression to limiting (2:1, 4:1, 8:1, 12:1)
Wide-Range Sidechain Highpass Filter
Vocal Asymmetry Tool
Hard-wire Bypass Switch
Interstage Transformer Bypass Switch
High Quality VU Meter switchable between Input, Output and Gain Reduction
XLR input and output connections
IEC power connector
115/230V AC Mains
Integral tube balance test
Easy stereo strapping of two or more units
Selected NOS tubes and components
Specifications
20 dB of available gain reduction
Signal to noise ratio of greater than 76dB
Flat frequency response within 0.5dB from 20-20,000Hz
Harmonic Distortion of less than 1% from 0-15dB gain reduction
Description
The Retro Instruments 176 is based on a Bill Putnam classic, the UA 176. The 176 faithfully reproduces the sound of the 1960s original with new features for the modern recording studio. The Retro Instruments 176 provides one of the most desirable compression signatures in recording history.
Learn more about the Bill Putnam original.
Features
Authentic variable-mu tube design
Precision Knob scales for easy recallability
Continuously variable attack and release time
Four settings of compression ratio from soft compression to limiting (2:1, 4:1, 8:1, 12:1)
Wide-Range Sidechain Highpass Filter
Vocal Asymmetry Tool
Hard-wire Bypass Switch
Interstage Transformer Bypass Switch
High Quality VU Meter switchable between Input, Output and Gain Reduction
XLR input and output connections
IEC power connector
115/230V AC Mains
Integral tube balance test
Easy stereo strapping of two or more units
Selected NOS tubes and components
Specifications
20 dB of available gain reduction
Signal to noise ratio of greater than 76dB
Flat frequency response within 0.5dB from 20-20,000Hz
Harmonic Distortion of less than 1% from 0-15dB gain reduction
176 Tube Limiting Amplifier The Retro Instruments Retro 176 Limiting Amplifier has the largest feature set in any variable-mu design. * Precision Knob scales for easy recallability * Continuously variable attack and release time * Four settings of compression ratio from soft compression to limiting (2:1, 4:1, 8:1, 12:1) * Wide-Range Sidechain Highpass Filter * Vocal Assymetry Tool * Hard-wire Bypass Switch * Interstage Transformer Bypass Switch * High Quality VU Meter switchable between Input, Output and Gain Reduction * XLR input and output connections * IEC power connector * 115/230V AC Mains * Integral tube balance test * Easy stereo strapping of two or more units * Selected NOS tubes and components Specifications for the Retro 176 include: * 20 dB of available gain reduction * Signal to noise ratio of greater than 76dB * Flat frequency response within 0.5dB from 20-20,000Hz and Harmonic Distortion of less than 1% from 0-15dB gain reductionFür weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
176 Tube Limiting Amplifier The Retro Instruments Retro 176 Limiting Amplifier has the largest feature set in any variable-mu design. * Precision Knob scales for easy recallability * Continuously variable attack and release time * Four settings of compression ratio from soft compression to limiting (2:1, 4:1, 8:1, 12:1) * Wide-Range Sidechain Highpass Filter * Vocal Assymetry Tool * Hard-wire Bypass Switch * Interstage Transformer Bypass Switch * High Quality VU Meter switchable between Input, Output and Gain Reduction * XLR input and output connections * IEC power connector * 115/230V AC Mains * Integral tube balance test * Easy stereo strapping of two or more units * Selected NOS tubes and components Specifications for the Retro 176 include: * 20 dB of available gain reduction * Signal to noise ratio of greater than 76dB * Flat frequency response within 0.5dB from 20-20,000Hz and Harmonic Distortion of less than 1% from 0-15dB gain reductionFür weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
Vintage Tube Amplifiers and Custom-Designed Transformers set the soundstage. True Passive Equalization creates Bountiful and Musical Equalization curves. The new RETRO 2A3 is designed as an ultra High-Fidelity Program Equalizer whose sonic benefits go beyond the equalization process. Accurate to the industry-standard Pultec EQ performance, the RETRO 2A3 adds HF boost frequencies in several new sweet spots. Carefully implemented HF boost circuits capture the signature sound of the original passive equalizers. Use these settings to make individual tracks fit in place. Make a vocal shine and add distinct presence. There are many satisfying applications, most notably the stereo mix buss. A new Subsonic Filter allows you to do peaking low frequency boosts that tame the excessive subsonic energy exhibited in the original design if thats what you want. Utilizing the interstage transformer, the filter not only reduces the subsonic energy but also provides distinct transformer tonal characteristics for tracking and mixing. The filter has settings of 40 and 90 Hz with a peaking response and sharp cutoff. The 40 Hz setting has no apparent loss of lows as it adds excitement to the 35-40 Hz region that is golden in many listening environments. The smoothing effect is pleasantly apparent throughout the midrange. It is easily switched-out for applications that require tight, accurate low frequency response. In consideration of the limited real estate in your rack, the RETRO 2A3 packs two EQ channels into one 2U space with surprising freedom of movement, ease of adjustment and familiarity. Use the two channels for stereo, separately on independent tracks or cascaded for extended equalization possibilities. The channel separation exceeds 70 dB. The RETRO 2A3 passive equalizer circuits do not rely on amplifier feedback, which can cause a harsh and clinical sound in typical active equalizer designs. By incorporating pure passive Capacitor - Inductor based equalization; the RETRO 2A3 sounds so natural and effortless even with extreme boosts and cuts. We also gave special attention to the Pultec-style bass boost/bass cut method that is essential to a powerful bass and kick drum EQ. This involves simultaneous low frequency boosts and lower-mid cuts that can scoop out the mud and add real punch. Quite simply, there are benefits to having the RETRO 2A3 in line without even equalizing, as the tube amplification has its own unique musicality. The RETRO 2A3 Dual Channel Tube Program Equalizer provides a very useful palette of colors and textures ready for tracking, mixing and mastering. Features Industry-standard Passive EQ with authentic feel, controls and equalization curvesAdditional HF Boost Frequencies for more precise controlEasily recallable 100-position knob scales on boost and cut controlsA ganged interstage-coupled Subsonic High-Pass Filter provides Peaking LF Boosts with alternate tonal characteristicsTransformer Balanced and fully-floating 600 Ohm Input and Output to eliminate ground-induced hum and noiseLF Boost Settings of 20, 30, 60 and 100 HzComplementary LF Cut settings of 20, 30, 60 and 100 HzHF Boost Settings of 1.5 kHz, 3 kHz, 4 kHz, 5 kHz, 6 kHz, 8 kHz, 10 kHz, 12 kHz, 14 kHz and 16 kHzComplementary HF Cut Settings of 5 kHz, 10 kHz and 20 kHzVintage Class AB tube amplification for unity-gain make-upEqualization Bypass SwitchesSize 2U Height: 19' wide x 3.5' tall x 9' deepXLR input and output connectionsIEC power connector115/230V 50-60 Hz Switchable AC MainsUses readily available 12AX7(2) and 12AU7(2) electron tubesTube substitutions are possible with internal unity gain calibration and jumper selectable 6 or 12 volt tube configurationDesign minimizes tube heat generationHigh stability components used throughoutSteel Chassis built to lastManufactured in the USA Specifications for the Retro 2A3 include: Signal to noise ratio of greater than 76dBChannel Separation greater than 70 dBFrequency response is flat within 1 dB from 20 Hz-20,000 HzHarmonic Distortion is less than 1% from 20 Hz-20,000 Hz Retro Instruments 2A3 Dual Channel EQ 3,565.00EUR inkl. 19% gesetzlicher Mwst, zuzüglich Versandkosten
We took the circuit topology of the Sta-Level and packed it into a single width 500 module. The 500PRE three tube gain stage exhibits the same detail and depth. As with all Retro products, the feeling of the musical performance is delivered with the Retro Instruments 500PRE.Distortion, Noise and Frequency Response of the 500PRE are outstanding; but overload characteristics are not generally revealed by standard measurements. The 500PRE tubes gracefully limit the signal at +18 dBu. Whether you're just going for clean gain or pushing the 500PRE into overdrive, it won't ever sound plastic and brittle like solid-state amplifiers can. Transient detail is unrestrained.
The Retro 500PRE doesn't sleep when you're done tracking. Use the 500PRE as a high-energy limiter during mix-time. The 500PRE design purposely has the limiter effect of tube amplifiers. You'll love to use it as a limiter to fatten all kinds of tracks.The Retro 500PRE works within API 500 rack power limitations. Each 500PRE consumes 160 ma of power, slightly above the 130 ma VPR-compliant allocation. We recommend racks with quiet linear power supplies like the API models. When power requirements are observed, the rack and 500PRE will provide years of reliable service.The Retro 500PRE uses three 12AT7 tubes that are readily available as new production or new-old-stock. A user can select from a wide variety. Your unit uses the new production TAD 12AT7 and these tubes are expected to last for a very long time under the 500PRE operating conditions. We use soft-start circuitry that minimizes stress to the tubes and power supply. The 500PRE takes less than a minute to warm up and perform.
No frills layout and simple controls make it easy to set and start recording. You can dial in up to 75 dB of amplification. The GAIN switch in the LOW setting converts the 500PRE to a classic two-stage amplifier and can sustain +10 dBu input levels without overload. An adjustable output attenuator provides the optimum level to all of your gear. It also allows you to overdrive without clipping downstream gear. The 500PRE is fully transformer balanced with high-quality Cinemag transformers for low noise, high headroom and superior audio performance.
We took the circuit topology of the Sta-Level and packed it into a single width 500 module. The 500PRE three tube gain stage exhibits the same detail and depth. As with all Retro products, the feeling of the musical performance is delivered with the Retro Instruments 500PRE.Distortion, Noise and Frequency Response of the 500PRE are outstanding; but overload characteristics are not generally revealed by standard measurements. The 500PRE tubes gracefully limit the signal at +18 dBu. Whether you're just going for clean gain or pushing the 500PRE into overdrive, it won't ever sound plastic and brittle like solid-state amplifiers can. Transient detail is unrestrained.
The Retro 500PRE doesn't sleep when you're done tracking. Use the 500PRE as a high-energy limiter during mix-time. The 500PRE design purposely has the limiter effect of tube amplifiers. You'll love to use it as a limiter to fatten all kinds of tracks.The Retro 500PRE works within API 500 rack power limitations. Each 500PRE consumes 160 ma of power, slightly above the 130 ma VPR-compliant allocation. We recommend racks with quiet linear power supplies like the API models. When power requirements are observed, the rack and 500PRE will provide years of reliable service.The Retro 500PRE uses three 12AT7 tubes that are readily available as new production or new-old-stock. A user can select from a wide variety. Your unit uses the new production TAD 12AT7 and these tubes are expected to last for a very long time under the 500PRE operating conditions. We use soft-start circuitry that minimizes stress to the tubes and power supply. The 500PRE takes less than a minute to warm up and perform.
No frills layout and simple controls make it easy to set and start recording. You can dial in up to 75 dB of amplification. The GAIN switch in the LOW setting converts the 500PRE to a classic two-stage amplifier and can sustain +10 dBu input levels without overload. An adjustable output attenuator provides the optimum level to all of your gear. It also allows you to overdrive without clipping downstream gear. The 500PRE is fully transformer balanced with high-quality Cinemag transformers for low noise, high headroom and superior audio performance.
The DOUBLEWIDE II is a single-channel compressor that installs into two slots of a standard 500 series rack yet it requires only 130-milliamps of current—just like the original Retro DOUBLEWIDE compressor. Also retained from the original are the gray painted front panel, high-quality US-made Simpson gain- reduction meter, and hand wiring throughout (no troublesome ribbon cables). DOUBLEWIDE II’s excellent build-quality is apparent starting with the American-made PC board and extends to the durable and attractive stainless steel case and, don’t forget, we only use Cinemag’s highest-quality input and output transformers for authentic tone and weight plus the complete freedom from external interference and noise. During initial user testing and comparison, the DOUBLEWIDE II immediately exceeded all expectations with increased flexibility and control that many original DOUBLEWIDE users have demanded. With both faster attack and release (recovery) times now possible, the DOUBLEWIDE II excels at energizing vocal tracks as well as controlling bass, guitars and drum tracks in an elegant and transparent way or go extreme and radical—or dial in anywhere in between!
Features
Front panel meter zero contr
Stereo link switch and indicator
Wider range of Attack and Release Times
Aggressive capability similar to the Retro Instruments 176 Limiting Amplifier
Improved signal-to-noise ratio, better frequency response and tube character
Uses premium-quality Cinemag input and output transformers
Uses readily available 12AT7 and 12AU7 tubes
Durable stainless steel chassis, hand-wired
Gold-plated edge connector
Power consumption: 130 milliamps
Same price as Original Doublewide
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The DOUBLEWIDE II is a single-channel compressor that installs into two slots of a standard 500 series rack yet it requires only 130-milliamps of current—just like the original Retro DOUBLEWIDE compressor. Also retained from the original are the gray painted front panel, high-quality US-made Simpson gain- reduction meter, and hand wiring throughout (no troublesome ribbon cables). DOUBLEWIDE II’s excellent build-quality is apparent starting with the American-made PC board and extends to the durable and attractive stainless steel case and, don’t forget, we only use Cinemag’s highest-quality input and output transformers for authentic tone and weight plus the complete freedom from external interference and noise. During initial user testing and comparison, the DOUBLEWIDE II immediately exceeded all expectations with increased flexibility and control that many original DOUBLEWIDE users have demanded. With both faster attack and release (recovery) times now possible, the DOUBLEWIDE II excels at energizing vocal tracks as well as controlling bass, guitars and drum tracks in an elegant and transparent way or go extreme and radical—or dial in anywhere in between!
Features
Front panel meter zero contr
Stereo link switch and indicator
Wider range of Attack and Release Times
Aggressive capability similar to the Retro Instruments 176 Limiting Amplifier
Improved signal-to-noise ratio, better frequency response and tube character
Uses premium-quality Cinemag input and output transformers
Uses readily available 12AT7 and 12AU7 tubes
Durable stainless steel chassis, hand-wired
Gold-plated edge connector
Power consumption: 130 milliamps
Same price as Original Doublewide
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Retro DOUBLEWIDE tube compressor for the 500 series
Product Description:
The Retro Doublewide is a true variable-mu tube compressor module designed from the ground up for the 500 series. It's authentic Retro compression for the masses. The Doublewide delivers the tube compression sound you expect because it is exactly that. While not precisely like any other tube compressor, the Doublewide methodology takes after the Sta-Level. As such, it excels at processing delicate sources like bass and vocals. It's all Retro and is built with the same quality components in our U.S. shop alongside our other products.
The tubes and transformers in a fully complementary push-pull topology deliver sonic characteristics typical of a full sized tube compressor. The Doublewide incorporates four NOS 6BJ6 pentodes in two tube gain stages as well as two high-quality Cinemag transformers. Input and output are fully floating and transformer balanced for use with line level signals. A hard-wire bypass switch allows for quick evaluation of the compression signature. Compression attack and recovery times are continuously variable. Like the Sta-Level and 176, the Doublewide has two timing characteristic modes; Single and Double. Double mode provides a dynamic program-controlled attack and recovery timing. With these two modes, the Doublewide is versatile in the studio, with full control of weight and punch versus transparency.
The Doublewide is designed to provide the user with years of reliable service. Special circuitry eliminates excess current inrush and component stress when power is applied. Power required is 180 milliamps (6 watts), which is well within a two-slot power allowance. The stainless steel chassis provides good ventilated to minimize heat buildup. The tubes are self-biased and balanced without the need for user adjustments and there are no internal controls. A meter-zero adjustment is accessible from the side of the unit to compensate for tube variations. Tube replacement is straightforward and the tubes are readily available.
Features:
Single channel Variable-Mu Tube Compression in a two-slot 500 series module
Continuously variable input and output levels with fixed threshold
Continuously variable attack and recovery time
Single and Double time-constants
Fully complementary push-pull signal path
Cinemag transformer balanced, fully-floating Input and Output
Hard wire bypass switch with gold-plated contacts
Gold-plated edge card connections
Stainless steel chassis construction
Side-accessible meter zero trim
Uses new-old-stock U.S. Tubes
Authentic U.S.-made Simpson gain reduction meter.
Hand built and tested in the U.S.
Specifications:
30dB of available gain reduction
Signal to noise ratio greater than 76dB
Flat frequency response within .5 dB from 20-20,000 Hz.
Total harmonic distortion 1% or less from 0-25dB gain reduction
Input Level –15 to +24dBm 600 Ohm Impedance
Output Level –20 to +12dBm 600 Ohm Impedance
Power consumption 180ma (6 watts)
Tube complement 6BJ6 x 4
The Retro OP-6, setting yet another standard to compare your BEST vintage pieces!
Retro Instruments has taken what has been learned from the PAST, and created a unit to be used NOW!
Features
* Stepped gain control
* Switchable Mic Impedance - /37/150/600
* Over 80dB of gain
* Phase Switching
* 48V phantom power
* Instrument input
* 25db Pad
* High Quality VU Meter
* Output Attenuator Control
* Improved Noise Performance
* XLR Input/Output
* Integral Tube Test Functions
* Durable Hammer Tone Case Finish
* Faceplate Holds true to original OP-6 design
* 115/230 Operation 50/60 Cycles
The Retro Powerstrip recording channel is a high powered "channel strip" or "vintage studio in a box", capturing the tone of a tube mixing desk, Pultec-style tube EQ and British tube compressor all in one compact 2u rack unit. It has all the right inputs and enough gain for every microphone and instrument you can throw at it. It has a balanced line level input for pro-interface instruments and for use during mix time. The performance is purely musical. It is perfect for use in any size recording studio or on stage. Features * Transformer coupled Class-A tube microphone preamplifier with phantom power. * Industry-standard Passive EQ with authentic feel, controls and equalization curves. * Classic British variable-mu tube compression. * Front panel 1/4' instrument jack. * Rear panel XLR mic and line inputs and line output are fully-floating transformer balanced to eliminate ground-induced hum and noise. * Interstage-coupled Subsonic High-Pass Filter provides Peaking LF Boosts with alternate tonal characteristics. * LF Boost Settings of 20, 30, 60 and 100 Hz Complementary LF Cut settings of 20, 30, 60 and 100 Hz. * HF Boost Settings of 1.5 kHz, 3 kHz, 4 kHz, 5 kHz, 6 kHz, 8 kHz, 10 kHz, 12 kHz, 14 kHz and 16 kHz. * Complementary HF Cut Settings of 5 kHz, 10 kHz and 20 kHz. * Six selectable compressor attack/release time-constants. * 90 / 250 Hz compressor high-pass sidechain filter. * Easily recallable 100-position knob scales. * The compressor and equalizer can be independently bypassed. * Phase reversal switch. * Front panel meter zero adjustment. * IEC power inlet with 120/240VAC 50/60Hz power mains standard. * Ability to use current production and new-old-stock tubes. * Tube enthusiasts have many options and resulting tone variations. * Tube changes require no alignment. * The instrument input loops to a rear panel jack for stage amplifier. * Rear panel line level XLR output and low-level balanced output for processed stage amplifier. * Design minimizes tube heat generation. * High stability components used throughout. * Steel Chassis built to last. * Manufactured in the USA. * Full factory support.
When you first put your ears to the Retro Revolver, you’ll hear some very legendary compression, an ingredient many have kept secret. You will hear lively and vibrant dynamics, the same you have imagined for your own project. Now you will know the sound, it’s as unmistakable as applesauce.
Years of Development.
As an experimental project in 2011, a few Revolvers were built and field tested with select studios. We started with the famous British-modified Altec 436 compressor and added features you need for tracking, mixing and mastering. We needed it right for Rev. A. Here it is.
The Retro Revolver puts You in Control.
For the first time ever, you get all the adjustments to dial in the type of dynamics you’ve heard on numerous albums. We’ve added features like a side-chain filter, stereo linking and continuously variable threshold, attack and release.
Built like a Tank.
The Retro Revolver might be guilty of being slightly overbuilt here in the USA, but it’s definitely done purposely to give you years of uninterrupted performance. Each unit passes a series of critical tests. Tubes and other components are selected for top performance and proper stereo tracking
Features:
A most desired compression signature
Ideal for the stereo bus and excels at tracking, mixing and mastering
Independent controls with stereo linking
Continuously variable input, output, attack, release and threshold
Dual Threshold Control allows control of ratio and amplifier saturation
Low noise and high separation
High-quality audio transformers deliver low distortion and ruler flat response
Fully differential all-tube signal path
Transformer-balanced inputs and outputs on XLR connectors
Illuminated VU meters
Front panel meter zero controls
Internal tube balancing facility
120 or 240 Volt operation
Sta-Level Tube Compression Amplifier The Retro Sta-Level is a replica of the legendary 1956 Gates Sta-Level. The Sta-Level dominated the sound of hit radio in the 1960's. Now these super musical sounding compressors have found their way into today's hits. The Retro Gold Edition celebrates fifty years of the products existence. The Sta-Level uses the coveted 6386 tube in a classic G.E. circuit design. Alternatively, the Gold Edition Sta-Level uses a pair of commonly available 6BJ6 tubes (stock). The customer has the choice to use their own 6386 they provide or the 6BJ6 provided with the purchase of the unit. The choice is yours and the sound is undeniably true to the original either way. The original 6386 compressor developed by G.E., utilized a novel program controlled release circuit. The Sta-Level implementation creates density and consistency while minimizing typical compressor side-effects at up to 40dB of gain reduction! The program path is transformer balanced throughout to cancel control-induced distortion. Push pull circuitry with 6V6 output stage provides wide voltage swing for gain control and line output. The result is that the Sta-Level brings a uniquely familiar intimacy, air and warmth to your tracks. Revisions to the original design include; Tube balance can be instantly aligned without test equipment; Uses 6386 tube or a pair of 6BJ6 tubes; Two or more Sta-Levels can be coupled together for stereo, surround or sidechain operation; XLR transformer balanced input and output; IEC Power Connector; Hand matched audiophile-grade coupling capacitors; High quality, custom wound transformers used throughout; Internal component safety cover.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
Sta-Level Tube Compression Amplifier The Retro Sta-Level is a replica of the legendary 1956 Gates Sta-Level. The Sta-Level dominated the sound of hit radio in the 1960's. Now these super musical sounding compressors have found their way into today's hits. The Retro Gold Edition celebrates fifty years of the products existence. The Sta-Level uses the coveted 6386 tube in a classic G.E. circuit design. Alternatively, the Gold Edition Sta-Level uses a pair of commonly available 6BJ6 tubes (stock). The customer has the choice to use their own 6386 they provide or the 6BJ6 provided with the purchase of the unit. The choice is yours and the sound is undeniably true to the original either way. The original 6386 compressor developed by G.E., utilized a novel program controlled release circuit. The Sta-Level implementation creates density and consistency while minimizing typical compressor side-effects at up to 40dB of gain reduction! The program path is transformer balanced throughout to cancel control-induced distortion. Push pull circuitry with 6V6 output stage provides wide voltage swing for gain control and line output. The result is that the Sta-Level brings a uniquely familiar intimacy, air and warmth to your tracks. Revisions to the original design include; Tube balance can be instantly aligned without test equipment; Uses 6386 tube or a pair of 6BJ6 tubes; Two or more Sta-Levels can be coupled together for stereo, surround or sidechain operation; XLR transformer balanced input and output; IEC Power Connector; Hand matched audiophile-grade coupling capacitors; High quality, custom wound transformers used throughout; Internal component safety cover.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
Sta-Level Tube Compression Amplifier The Retro Sta-Level is a replica of the legendary 1956 Gates Sta-Level. The Sta-Level dominated the sound of hit radio in the 1960's. Now these super musical sounding compressors have found their way into today's hits. The Retro Gold Edition celebrates fifty years of the products existence. The Sta-Level uses the coveted 6386 tube in a classic G.E. circuit design. Alternatively, the Gold Edition Sta-Level uses a pair of commonly available 6BJ6 tubes (stock). The customer has the choice to use their own 6386 they provide or the 6BJ6 provided with the purchase of the unit. The choice is yours and the sound is undeniably true to the original either way. The original 6386 compressor developed by G.E., utilized a novel program controlled release circuit. The Sta-Level implementation creates density and consistency while minimizing typical compressor side-effects at up to 40dB of gain reduction! The program path is transformer balanced throughout to cancel control-induced distortion. Push pull circuitry with 6V6 output stage provides wide voltage swing for gain control and line output. The result is that the Sta-Level brings a uniquely familiar intimacy, air and warmth to your tracks. Revisions to the original design include; Tube balance can be instantly aligned without test equipment; Uses 6386 tube or a pair of 6BJ6 tubes; Two or more Sta-Levels can be coupled together for stereo, surround or sidechain operation; XLR transformer balanced input and output; IEC Power Connector; Hand matched audiophile-grade coupling capacitors; High quality, custom wound transformers used throughout; Internal component safety cover.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.