• Features:

    • Discrete Class-A Compressor/Peak Limiter
    • Switchable analog/tube enhancement circuit
    • Sidechain allows simultaneous compression and peak limiting
    • Transformerless, balanced I/O
  • Features :

    Mastering Version with Fully Stepped, Repeatable Controls Discrete Class-A Circuitry Four overlapping EQ bands per channel Switchable low cut filter with 12 positions between 20 Hz and 150 Hz Switch-selectable frequencies centered on and spanning musical major third intervals Balanced I/O Adjustable "color" function can be applied globally, or to individual frequency bands Lowest and highest EQ bands switchable to shelving - rather than peaking

    Applications :

    Digital & Analog Mastering Pro Studio Recording CD Mastering/Preparation DAW Input & Output Broadcast Engineering Live Audio Engineering Project Studio DAW
  • trident_series_80b_rear trident_series_80b_front
    The Trident Series 80B is a two-channel rack mountable version of the legendary Series 80B console. Comprising two independent channels, each with a microphone/line amplifier and four band equalizer, it is designed to process incoming signals from a microphone or line level instrument and output to a recording device, such as a digital audio workstation or analog multi-track tape recorder.
  • The Trident A-Range is a two-channel rack-mountable version of the legendary Trident 'A' Range console. Comprising two independent channels, each with a microphone/line amplifier and four band equalizer, it is designed to process incoming signals from a microphone or line level instrument and output to a recording device, such as a digital audio workstation or analog multi-track tape recorder.
  • The Little Labs VOG analog bass resonance tool is the latest creation from Little Labs, and is Little Labs first entry in the popular API 500 Series module format.

    The VOG was originally designed to capture the chest resonance of vocalists or voice-over-artists, enabling them to still have a proximity type effect without having to be so close to the mic, hence the name, VOG, or Voice of God.  The go to device to make instruments like kick drum and bass sound huge.
  • Thermionic-Culture-Pullet-EQ-Mini-Passive-Stereo-EQ-rear Thermionic-Culture-Pullet-EQ-Mini-Passive-Stereo-EQ-Front

    The Pullet is a passive EQ which has a sharp focus on mid range frequencies.


    The Pullet will provide the EQ network to a signal but will reduce the signal level so that a preamplifier with a gain of up to 40dB is needed in order to lift the signal back up to unity gain when the Pullet EQ is set to ‘flat’ or bypass.


    The preamplifier is used at the output of the Pullet. The fact is that most people will already have a preamplifier that can be used, either a standalone outboard unit, or a mic-preamp built into a console, so the Pullet can make a lot more use from the preamps that would otherwise be sitting around unused during a mix.


    The Pullet provides a variation on the classic passive EQ designs that have proved so popular (eg. Pultec).

  • I used the EQ-P1 and EQ-H1 extensively in mixing scenarios, and they performed like champs. I was able to dial in silky top-end on vocals and acoustic guitars and beefy lows on kick drums and mic'd bass cabinets with truly 'pro' results. There were many times when i hit upon a certain setting and found it was 'that sound' I had heard for years on 'that famous record' that didn't seem possible to get with 'other gear'. These EQs are so perfectly geared to music that - even with extreme settings - it's hard to get bad results with them.

    Pete Weiss, TapeOp Magazine

    The Mercury EQ-H1, EQ-P1, EQ-H2 and EQ-P2 are all based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier (‘Pultec style’) equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.

  • I used the EQ-P1 and EQ-H1 extensively in mixing scenarios, and they performed like champs. I was able to dial in silky top-end on vocals and acoustic guitars and beefy lows on kick drums and mic'd bass cabinets with truly 'pro' results. There were many times when i hit upon a certain setting and found it was 'that sound' I had heard for years on 'that famous record' that didn't seem possible to get with 'other gear'. These EQs are so perfectly geared to music that - even with extreme settings - it's hard to get bad results with them.

    Pete Weiss, TapeOp Magazine

    The Mercury EQ-H1, EQ-P1, EQ-H2 and EQ-P2 are all based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier (‘Pultec style’) equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.

  • The Mercury EQ-H1 features a passive EQ circuit with a single ended gain make up amplifier topology, based on the vintage ‘Pultec EQH’ circuit. The Mercury EQ-H1 circuit provides a musically satisfying result unobtainable with active and parametric EQs, since it does not rely upon negative feedback (and all its associated phase and dynamic distortions) to achieve equalization. The EQ-H1, like all Mercury products, has transformer balanced (XLR) input and outputs. The only modern additions or changes to the original are a much more powerful and stable power supply and running DC on the heaters, rather than AC, and two additional frequencies to expand the range and make it more flexible.
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  • joemeek oneq2
  • Manley Core

    $3,299.00
    Manley designed the Core reference channel strip so that you can hit record and focus on your performance, not your signal chain. It sports the quality, performance, and flexibility their VOXBOX is known for, at a price that makes it accessible to any serious artist or engineer. You get a world-class Manley mic pre, followed by a 3:1 ELOP style compressor for effortless dynamic control.