Der PRE-73 MKIII ist ein einkanaliger Mikrofon-, Line- und Instrumentenvorverstärker im Vintage-Stil. Der Signalweg verwendet nur diskrete Bauteile wie Widerstände, Kondensatoren und Transistoren. Die Ein- und Ausgänge sind transformatorisch symmetriert, wobei zwei verschiedene Transformatoren verwendet werden, von denen jeder für seinen Zweck optimiert ist. Die im PRE-73 MKIII verwendete Schaltung ähnelt der Vorverstärkersektion des klassischen 1073-Moduls mit einem entsprechenden Klangcharakter, der warm, druckvoll und musikalisch ist. Diese klassischen Eigenschaften sind seit Jahren auf unzähligen Aufnahmen zu hören. Sein vielseitiger Sound, findet bei den meisten Klangquellen und in den meisten Genres diverse Einsatzmöglichkeiten.
Funktionen:
• Neu in der MKIV Version: o 48V, Line, DI & Low-Z Knöpfe jetzt im britischen-Stil o Aus dem Power-Knopf ist ein Power-Schalter geworden o Aus dem Phase-Knopf ist ein Phase-Schalter geworden o Power-LED hinzugefügt o Gesamte Layout wurde überarbeitet und übersichtlicher gestaltet o Output-PAD Schaltung hinzugefügt• Keine integrierten Schaltkreise (IC’s) im Signalweg• Maximaler Gain: 80 dB• Schaltbarer Gain-Bereich von 20-80 dB• Umschaltbar zwischen MIC/LINE Mode (30 dB reduzierter Gain)• AIR boost EQ mit 3 oder 6 dB Boost bei 30 kHz• Zwei schaltbare 6dB/Oktave High Pass Filter bei 40 Hz (HP1) oder 170 Hz (HP2)• Tantalum Kondensatoren im Signalpfad• Im MIC-Modus ist die Impedanz zwischen 1200 und 300 Ohm umschaltbar• 48V Phantomspeisung & Phasenumkehr• Hochohmiger Instrumenteneingang• Ausgangspegel kann separat gesteuert• Kombo – XLR/Klinke Eingänge• Separate XLR und Klinke Ausgänge• Stabile Bauweise• Gewicht Box: 3,5 kg• Maße Box (L x B x H): 35,56 cm x 32,26 cm x 9,4 cm
Features:
- Vintage style all tube signal path. The tubes are fitted with grounded shields.
- Transformer balanced input and output. Can drive almost any load, balanced or unbalanced.
- Golden Age Project's version of the classic optical unit using a long life electroluminescent panel and two carefully matched Silonex NSL5910 photoresistors for T4B-style electro-optical gain control with program dependent attack and release times.
- Very simple to operate with only two main controls, Gain and Peak Reduction.
- HF control can make the side-chain circuit more sensitive to mid and high frequency content.
- Linear low noise regulated filament and high voltage power supply.
- A big meter selectable to show gain reduction or output level at two different reference levels.
- Hardwire bypass switch for easy comparisons.
- XLR and TRS input and output jacks for flexible connections.
- Link jack and switch for connecting to another unit for stereo operation.
- All external controls located on the front panel.
- Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.
- A solid build quality that will last many years of normal use.
COMP-2A Manual
FEATURES
Vintage style electronics. No integrated circuits in the signal path.
Transformer balanced input and output. Can drive almost any load - balanced or unbalanced.
Selectable output transformer loading resistors by an internal jumper, will affect the high end frequency response.
Uses a classic T4-style electro-optical attenuator to control gain with program dependent attack and release times.
Very simple to operate with only two main controls, Gain and Peak Reduction.
HF control can make the side-chain circuit more sensitive to mid and high frequency content.
A big meter selectable to show gain reduction or output level at two different reference levels.
Hardwire bypass switch for easy comparisons.
XLR and TRS input and output jacks for flexible connections.
Link jack and switch for connecting to another unit for stereo operation.
All external controls located on the front panel.
External power supply to avoid interaction with the audio circuits and transformers.
Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.
A solid build quality that will last many years of normal use.
Overview
The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available. Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires. The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market. The circuit used in the COMP-3A is based on a classic design that uses an electro-luminescent panel and a photoelectric cell to control gain. This gives the COMP-3A a unique, program dependent compression characteristics. In addition, the vintage style signal path adds a wonderful and musical character to the sound. The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made the original units a favourite of engineers and musicians worldwide. This classic sound is now available at a very affordable price point with the COMP-3A.
The COMP-3A Jr is a one channel vintage style Compressor / Leveler. The signal path uses only discrete components like resistors, capacitors, diodes and transistors. The input and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available.
Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audio components built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires. The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.
The circuit used in the COMP-3A Jr is based on classic design elements and it uses an integrated optocoupler to control gain. This gives the COMP-3A Jr a unique compression characteristics. In addition, the vintage style signal path adds a wonderful and musical character to the sound. The ease of use with only two main controls makes it very simple to achieve the desired sound. These attributes has made vintage products with a similar design favourites of engineers and musicians worldwide.
A classic sound and compression style is now available at a very affordable price point with the COMP-3A Jr.
FEATURES
Vintage style electronics. No integrated circuits in the main audio signal path.
Transformer balanced input and output. Can drive almost any load, balanced or unbalanced. The maximum ouput level is 25 dBu.
Uses an integrated optocoupler to control gain. The fastest attack time is about 1 ms.
Very simple to operate with only two main controls, Gain Makeup and Gain Reduction.
Three-position TIME switch to select different combinations of Attack- and Release time.
Selectable jumpers inside the unit to increase the timing on TIME-switch position B and C.
LED-meter selectable to show output level or gain reduction.
Hardwire bypass switch for easy comparisons.
XLR and TRS input and output jacks for flexible connections.
Link jack for connecting to another unit for stereo operation.
All external controls located on the front panel.
External power supply to avoid interaction with the audio circuits and transformers.
Compact 1RU quarter rack format. Up to four units can be mounted in our 19-inch rack kit, the UNITE MKII.
A solid build quality that will last many years of normal use.
The COMP-554 MKII is the 500 series rack version of the COMP-54 MKIII with some additional features.
The COMP-554 MKII is a one-channel vintage style compressor for the 500-format. The signal path uses only discrete components like resistors, capacitors and transistors. The input and output are transformer balanced and the unit also uses a third interstage transformer.This is the way audio components were built before integrated circuits became available. IC´s are small and cheap and they are widely used in most modern designs. It is clear though that audio components built with modern technology doesn´t always provide the best perceived sound quality or character that the modern user desires.On the contrary, the subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units. This is the reason why so many vintage audio components are cloned and produced again and also why the vintage originals are often very expensive on the second hand market.The class-A circuit used in the COMP-554 MKII is similar to the one in the classic 2254 compressor that was designed in 1969. It quickly became a legend due to it´s totally unique sound character that is warm, smooth, sweet and musical.These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on many sound sources and in many genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.
The class-AB equalizer circuit used in the EQ-81 MKII is similar to the eq section in the classic 1081 module, without the high and low pass filters.
The sound character is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.
The EQ-81 MKII has stepped frequency controls that offers a wide selection of frequencies from 33 Hz to 15 kHz. The BASS and TREBLE frequency bands are switchable between shelving and bell and the MID frequency bands is of the bell type with a switchable Hi Q setting. The control range is +/- 18dB. All four bands can be set in an off mode.
The EQ-81 MKII can be used either as a standalone EQ or connected to the insert jack of one of the Golden Age Project preamps. Combining one of our PRE-73 preamp´s and an EQ-81 MKII and using a UNITE rack kit to mount them together, one will get a 19-inch 1081-style unit at a low cost and with a great sound!
GOLDEN AGE PROJECT FC 1 MKIIThe FC 1 MKII is a high quality large capsule condenser microphone, inspired by classical microphone models. It is is very a versatile microphone with a wide frequency response and a large dynamic range. It will perform great in the studio or in live sound and broadcast applications.The FC 1 has a center-terminated capsule with a sweet top end and can handle loud sounds without harshness or other problems. The output transformer handles bass well and adds that extra fat sound that only transformers can deliver. The retro EQ in the FC 1 MKII is set to deliver maximum sound quality with as many sound sources as possible. The sound character of the FC 1 MKII is similar to vintage microphones and it is well suited to be used with most instruments and voices. It works very well on vocals and choirs, acoustic and electric guitars and other fretted instruments, as a drum overhead or room mic and in any other application where you would use a big capsule condenser mic. The FC 1 MKII comes with a spider style shock mount.
GOLDEN AGE PROJECT FC 3The FC 3 is a high quality dual capsule condenser microphone, inspired by classical microphone models.The FC 3 is a very versatile microphone with a wide frequency response and a large dynamic range. It will perform great in the studio or in live sound and broadcast applications.It´s sound character is similair to vintage microphones and it is well suited to be used with most instruments and voices. Use it on vocals and choirs, acoustic and electric guitars and other fretted instruments, as a drum overhead or room mic and in any other application where you would use a big capsule condenser mic.The FC 3 is, in spite of it´s low cost, suitable for critical recording applications.The FC 3 comes with a spider style shock mount.
FEATURES
Vintage style electronics. No integrated circuits in the signal path.
Custom made mic and line input and line output transformers and highpass inductor. The circuit board is prepared for the Carnhill transformers and high pass inductor.
Traditional 1073-style gain switch that is also used to select the mic or the line input jack.
Combo XLR/TRS mic and line input jacks and separate output XLR and TRS jacks for flexible connections.
Maximum gain on the mic input is 80 dB, enough to handle passive ribbon mics with quiet sound sources.
Switchable impedance on the mic input, 1200 or 300 ohms. Changing the load impedance will change the tone of many mics.
Gain range on the line input: -20 to + 10 dB.
An active instrument input for guitar and bass that passes the signal through the mic input transformer, with selectable input impedance, hi-Z or 100 kohm, by an internal jumper.
Switchable phantom power and absolute phase.
Gain switch plastic knob and metal knobs for the other controls.
The phantom power can deliver up to 10 mA according to the specification standard. The 6.8 kohm phantom power resistors are matched to within 0.1% to maintain good common-mode rejection in the circuit.
Selectable 1073-style inductor based highpass filter at 50, 80, 160 or 300 Hz with a slope of 18 dB / octave.
Selectable two position AIR EQ with a boost of about 3 or 6 dB at around 30 kHz.
An output pad allows the user to add character by attenuating the output signal after the output transformer by -7, -14, -21 or -28 dB for overdriving the output stage and the output transformer by adding gain and then lower the output signal to a suitable level with the pad.
A simple but effective 4-step LED output level meter.
Tantalum capacitors in the signal path.
Switches on the back panel for 600 ohm output termination and ground lift.
Relays are used to control internal switching for phantom power, mic low-Z, insert and DI for shorter circuit board signal paths. The relays are controlled by front panel switches.
Circuit board star grounding scheme.
Power supply with separate regulators for the audio circuit and the relay and LED circuit.
External power supply to avoid interaction with the audio circuits and transformers.
A solid build quality that will last many years of normal use.
The PRE-73 Jr offers the classic sound at an even more affordable price point. It has everything you need to make great sounding recordings and the insert jack allows you to connect one of our EQ-units to modify the tone of your tracks.
The PRE-73 Mk2 is the first one-channel low-cost preamp on the market that is using a fully discrete signal path with three separate transformers for the balanced mic input, the line input and the output.The circuit is very similar to the classical preamp section of the Neve 1073 pre/eq module with a corresponding sound character that is warm, punchy, sweet and musical.This classical sound has been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres.The PRE-73 Mk2 has a maximum gain of 80 dB on the mic input and the gain range on the Line input is -20 to + 10 dB. There is also a high-impedance instrument input.The PRE-73 Mk2 is perfect for almost any signal source, no matter if it’s a microphone with a high or low sensitivity (like a passive ribbon mic), a syntheziser or sound module or an electric guitar or bass.The input impedance of the microphone input can be switched between 300 and 1200 ohms, which makes it possible to affect the tone of most microphones. There is also phase switch and an simple 4-step LED signal level meter.The output level control makes it possible to make fine gain adjustments and also to overload the main gain stage for more character and then lower the signal to a suitable level before the output stage.The Mk2 update consists of:- An unbalanced insert jack (nominal level about 18 dBu) added on the back panel for inserting units like the coming GAP EQ-73, a three band eq.- LED meter levels adjusted.- 600 Ohm termination resistor and jumper added to power supply board (accessible from the inside of the unit).- Revised Gain switch, turning the know clockwise now increase the gain.- Reduced noise at high gains by a change to the power supply grounding scheme.
The PRE-73 is the first one-channel low-cost preamp on the market that is using a fully discrete signal path with three separate transformers for the balanced mic input, the line input and the output.The circuit is very similar to the classical preamp section of the Neve 1073 pre/eq module with a corresponding sound character that is warm, punchy, sweet and musical.This classical sound has been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres.The PRE-73 has a maximum gain of 80 dB on the mic input and the gain range on the Line input is -20 to + 10 dB. There is also a high-impedance instrument input.The PRE-73 is perfect for almost any signal source, no matter if it’s a microphone with a high or low sensitivity (like a passive ribbon mic), a syntheziser or sound module or an electric guitar or bass.The input impedance of the microphone input can be switched between 300 and 1200 ohms, which makes it possible to affect the tone of most microphones. There is also phase switch and an simple 4-step LED signal level meter.The output level control makes it possible to make fine gain adjustments and also to overload the main gain stage for more character and then lower the signal to a suitable level before the output stage.
The R1 ST is two high quality vintage style ribbon microphone sections with transformer balanced outputs in a classic Blumlein configuration for stereo and mono recordings. It offers the unique and natural sound that has been available in classical microphones like the RCA 44 and 77 that are still used to make high quality recordings today after over 80 years.
The R1 ST is very well suited for the recording of most sound sources like vocals, acoustic instruments, strings, horns, orchestras and choral groups and many live sound applications.
In spite of its low cost, the R1 ST meets the most stringent demands.
Features:
Two ribbon elements, one placed above the other; each aimed 45 degrees from center in a classic Blumlein configuration.
Creates a wonderful stereophonic representation of the sound source and the acoustic environment.
Either side of the R1 ST can also be used as a mono microphone.
The natural, smooth and musical sound of vintage style ribbon microphone technology.
Captures every transient without harshness or hardness.
The warm and punchy sound of a transformer balanced output.
Ultra-high SPL capability, 160 dB SPL (1% THD @ 1000 Hz).
Each section has a figure-8 directional pattern with wide sweet spots in the front and in the back.
50 mm long, 2 microns aluminium ribbons.
Detachable microphone cable and a cable splitting box for left and right output.
Shock mount and two transport cases, one hard and one soft.
Manufactured of the finest materials for a great performance and long-term reliability.
The TC 1 is one of our top products. It is a warm-sounding, large capsule tube condenser microphone. The TC 1 is a classic tube mic with selectable pad and highpass filter and nine different polar patterns for very little money.The TC 1 is a very versatile microphone with a wide frequency response and a large dynamic range. It will perform great in the studio or in live sound and broadcast applications.It´s sound character is similair to vintage tube microphones and it will sound superb on most instruments and voices.Use it on vocals and choirs, acoustic and electric guitars and other fretted instruments, as a drum overhead or room mic and in any other application where you would use a vintage style tube condenser mic.The TC 1 comes with all accessories in an aluminium flight case, a shock mount is included.