Archive for November 12th, 2010

Transaudio Group Introduces New Daking Mic Pre 500

micpre_500.JPGLAS VEGAS, NEVADA – NOVEMBER 2010: Geoff Daking and Company, Inc. launched the new Mic Pre 500 single-channel microphone/instrument preamplifier module at the 129th AES Convention in San Francisco. Derived from the company’s Mic Pre One freestanding unit, the Mic Pre 500 is designed for installation in 500 Series format equipment. The new mic pre features switchable phase, 20 dB mic input pad, +48V phantom power, and a selectable quarter-inch line/hi-z instrument input.

Like the Mic-Pre One, the Mic Pre 500 shares the gain structure and Class A, fully-discrete transistor circuitry design of Daking’s popular Mic Pre IV. The front panel controls include a variable high-pass filter (0-200 Hz) as well as continuously variable input gain. It also includes an eight-segment tri-color LED meter with simultaneous VU and Peak is included. more

API Announces 1,000th A2D Customer

chris_cundy.JPGJESSUP, MARYLAND – NOVEMBER 2010: Chris Cundy of Bozeman, Montana, was recently identified as the 1,000th customer of API’s highly regarded A2D. In the four short years since its introduction, the A2D has become one of the most popular and decorated products of the company’s offerings.

“It’s the ideal mix of the old and the new. The solid-state heritage of API with two reference quality 312 mic preamps in combination with the cutting-edge application of today’s technology in a superb A/D section is what makes the A2D such a hit,” said Larry Droppa, president of API. “It is our one and only product with a digital output and it’s great to have it become one of our best-selling products.”

Cundy is part of the team at The Shed, a production, tracking, mixing, educational and rehearsal facility in Bozeman. The Shed consists of two isolation rooms, a piano studio, control room and a live performance room. more

Tube-Tech Celebrates 25 Years of Analog Warmth

tube_tech_25th.JPGCOPENHAGEN, DENMARK – NOVEMBER 2010: For twenty-five years, engineers and producers the world over have associated the no-nonsense blue faceplate and white typeface of TUBE-TECH analog processors with the lush, dimensional sound they impart to any audio that flows through them. After 25 years in business, TUBE-TECH president John G. Petersen continues to craft their equipment with simple, elegant circuitry using only premium-grade components. From the start, Petersen designed TUBE-TECH gear using only vacuum tubes in the active signal path and only transformers on the inputs and outputs. Since the first the design of the first Program Equalizer PE 1A in 1985, over 15,000 TUBE-TECH units have shipped from the headquarters of parent company Lydkraft in Denmark. Because their lifetimes are measured in decades, almost every one of those units is still helping make the music of today sound much better than it would have otherwise.

Before TUBE-TECH became a reality, Petersen had received a degree in electrical engineering from Danish Post and Telegraph and took a job in 1972 at the Danish Broadcasting Company (DBC). In his role as maintenance engineer, he received factory training at Solid State Logic, EMT, Studer, Sony, Neumann, NTP, and Lyrec. His genius for inspecting, understanding, and repairing audio circuits paved the way for TUBE-TECH. “A friend of mine was opening MOX Studio in Copenhagen in the mid-1980s,” said Petersen. “I helped him refurbish all of the gear that was going into it, including two Pultec equalizers. I was skeptical about those boxes. They looked like they belonged in the city dump! But they tested nicely and, more importantly, they sounded amazing.” more

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