Originally designed as a 'distortion box' to simulate distortion in valve amps it has found lots of uses beyond this. We know that some owners use them on drum loops, vocals, piano sounds and even across entire tracks (it is a stereo unit). We have refined this so that distortion figures are reduced to only 0.2% at lowest to about 99.9% (at least that's what our distortion meter tells us!). Predominant distortion can be changed from even to odd harmonics with a simple switch. We know it's recently been rented to mix a JAMES BOND movie! If you're looking to use the Culture Vulture in a mastering application, or require balanced transformer inputs, check out the Culture Vulture MV. Warm sounds gently or create a noise like a 200 watt guitar stack with the speakers slashed Dual mono operation Odd or even harmonic distortion, or combination of both All tube design free of solid state additives High impedance line input or instrument inputs All valve design free from solid state additives 4 & 7 kHz filters Overdrive & bypass switches Maximum output level: +20dBV Distortion: 0.2% to 99.9% Noise: Variable better than 75dB below M. O. L at most settings Input Impedance: 30k Output Impedance: 2.5k ohm ( should ideally drive a 10k input impedance ) Frequency response: >1dB variation over 10Hz to 25kHz ( actually +/- 1.75dB over 50Hz to 15kHz at low distortion ) Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
The Culture Vulture Super 15 is the most comprehensive Vulture to date. It incorporates all the features found on the 11th Anniversary edition such as the 7 extra distortion functions, but also now features a 2 position Presence switch.
The Drive switch has three positions with a +10dB option sitting squarely between ‘Normal’ and ‘Overdrive’, enabling users tomake their sounds ‘a little more crunchy’ with increased brightness.
The Function switch now offers further enhancements including special dynamic tunable mid-lift in the P positions and extra drastically-processed harmonics in the SQ positions.
The Output Level controls have a -10dB attenuator which can be used in conjunction with Drive +10dB for comparison purposes or just to reduce high levels.
The module’s line inputs are balanced while the line plus low level outputs are unbalanced. Five NOS military-grade valves are utilised for long life, low noise and enhanced performance, mirroring The Culture Vulture Mastering Plus. And of course dials now up to 15.and it really does have more gain.
Even more distortion effects including 3 SQ (“squash”) settings.
5 musically tuned sharp dynamic mid lift settings;
Bias control is more useful than ever before for type of sound and mid lift;
Extra mid way +10dB setting on Drive switch, before Overdrive (+20dB) ;
Broad Presence control on + 10 dB position;
-10dB attenuator enables comparison between the above, or useful to control high levels;
Extra Output level to easily drive DAWs;
Transformer balanced line input, unbalanced DI input;
Unbalanced Hi & Lo outputs for better transparency;
All inputs and outputs on standard TRS jacks;
Low pass filter to remove unwanted HF overtones;
Low noise, long life, selected NOS valves, carefully matched for stereo;
Bypass switches connect Line In direct to Hi output avoiding all electronics;
Made in England;
The 3u 19" Earlybird 4 has a unique valve design, in that it uses Class A bias valves in a push-pull circuit, company founder and chief designer Vic Keary believes that this is one of the finest pre-amplifiers available today, and despite they're use for distortion in poweramps, valves have better distortion and lower noise than solid state amps. Due to specially designed Sowter transformers the Earlybird 4 boasts well under .01% distortion, a Vic explains that "it's like connecting a pair of wires with gain to your mic, it's so clean!" It has a very high output level of +32dB and if desired, 2nd order harmonics c be introduced by increasing mic gain and reducing output gain. The unit has switched gain controls with a maximum of 62dB of mic gain and a variable output along with pads, phase and stepped filter. A pair of meters can be switched between 1 & 2 and 3 & 4. For more information, please visit this products webpage.
The Fat Bustard mk II is an all valve passive input summing mixer. It has 14 inputs with 4 stereo inputs, 4 mono pan-able inputs and 2 'Aux' inputs with a pan switch. The Fat Bustard is unique in it's exceptional sound quality and also the extra degree of control and processing it offers over the stereo mix output. The mk II version is now the standard production model and it has been upgraded to include a monitor output with level control.
Much of the attractive sound provided by the Fat Bustard is down to the choice of valves used. The summing is done by a pair of 5965 valves and the output stage uses a pair of 6SN7 valves. This combination provides a very large amount of headroom and a unique smooth sounding response. It's also worth noting that the unit has "semi-floating" inputs and unbalanced outputs. This was a decision made at the design stage purely because the unit sounded better this way and performed excellently when connected for use in all situations.
The Fat Bustard employs our unique "varislope" curves for top and bass lift. As the control is turned up, the peak frequency of the curve becomes more extreme so as to add heavier bass/brilliant top – without the hardness found in solid state eqs. The bass and top cuts provide a variety of options to tailor the sound – too many to list here. They are of course independent of the lifts. All controls affect both stereo channels equally.
The 'Attitude' control is the next to control the sound of the mix.This switched control gradually increases the amount of harmonic distortion in the stereo summing stage. It is relatively subtle (at least in the lower positions) to provide just the right amount of 2nd harmonic content for a stereo mix. At high positions the mix can be quite aggressive.
The stereo spread control allows the stereo to be widened by a continuous amount over a selectable frequency range.
All valve 14 channel passive summing mixer with many extras !
Pan controls on 4 channels.
Unique Varislope Top and Bass lifts plus filters.
'Attitude' control to add harmonics.
Stereo width controls / Bass to centre and mono.
Precision ELMA switch to control main level (fadeable).
Monitor outputs with level control and switching.
Hand wired with point to point wiring throughout.
Exceptional sound quality- very low distortion except when required and massive 'headroom'.
Frequency response extends from below audio range to well above.
The Fat Bustard mk II is an all valve passive input summing mixer. It has 14 inputs with 4 stereo inputs, 4 mono pan-able inputs and 2 'Aux' inputs with a pan switch. The Fat Bustard is unique in it's exceptional sound quality and also the extra degree of control and processing it offers over the stereo mix output. The mk II version is now the standard production model and it has been upgraded to include a monitor output with level control.
Much of the attractive sound provided by the Fat Bustard is down to the choice of valves used. The summing is done by a pair of 5965 valves and the output stage uses a pair of 6SN7 valves. This combination provides a very large amount of headroom and a unique smooth sounding response. It's also worth noting that the unit has "semi-floating" inputs and unbalanced outputs. This was a decision made at the design stage purely because the unit sounded better this way and performed excellently when connected for use in all situations.
The Fat Bustard employs our unique "varislope" curves for top and bass lift. As the control is turned up, the peak frequency of the curve becomes more extreme so as to add heavier bass/brilliant top – without the hardness found in solid state eqs. The bass and top cuts provide a variety of options to tailor the sound – too many to list here. They are of course independent of the lifts. All controls affect both stereo channels equally.
The 'Attitude' control is the next to control the sound of the mix.This switched control gradually increases the amount of harmonic distortion in the stereo summing stage. It is relatively subtle (at least in the lower positions) to provide just the right amount of 2nd harmonic content for a stereo mix. At high positions the mix can be quite aggressive.
The stereo spread control allows the stereo to be widened by a continuous amount over a selectable frequency range.
All valve 14 channel passive summing mixer with many extras !
Pan controls on 4 channels.
Unique Varislope Top and Bass lifts plus filters.
'Attitude' control to add harmonics.
Stereo width controls / Bass to centre and mono.
Precision ELMA switch to control main level (fadeable).
Monitor outputs with level control and switching.
Hand wired with point to point wiring throughout.
Exceptional sound quality- very low distortion except when required and massive 'headroom'.
Frequency response extends from below audio range to well above.
This is the latest development in the evolution of the classic Phoenix compressor, first introduced in 1998. After requests from mastering engineers the Master Phoenix was introduced in October 2006. This was more recall-able with indented pots and slightly different power supply and metering circuit, in which trimming the meter alters the current through the compression valve so compensating for valve ageing.
The compression curve of the mastering Phoenix is slightly gentler than that of the standard one, but it does have a more "positive" effect. This earlier version has 6dB lower gain compared to the standard Phoenix.
The Master Phoenix is in use in many studios and mastering suites around the world, and we do know that one of its users, Ray Staff of AIR London Studios won the MPG award for Best Mastering Engineer in 2009.
The new Mastering Plus is a much upgraded version employing precision Elma switches for the Gain and Threshold and Alpha switches for Attack and Release. Omeg indented pots are used for the Output Level for fine control.
Side Chain Bass Cut switches, which have become an essential mastering tool have been retained. In stereo mastering, with the link switch in, there are effectively 5 frequency options as the compressor side chain will work at the average of the switch positions.
A Standby switch is introduced to prolong valve and component life and this has had an unexpected effect, see. *
Mullard and Siemens NOS valves are used exclusively for lower noise and long life stability.
The Gain is now identical to that of the standard Phoenix so that extreme compression effects are possible .
Easy adjustment of Meter Zeros, especially important in stereo mastering, is now enabled by front panel access to the trim controls, situated between the 2 meters.
*some users have found that analogue tape type distortion is created when the unit is operated with Standby on.This was unintentional but some people may find it interesting.
All valve signal path and side chain, point to point hand wired in England.
Subtle control with 'soft knee' compression more compression effects when pushed hard.
Stereo link for mix buss compression.
Side chain filters to enable compression of all frequencies except bass.
Flat frequency response over full audio range and beyond.
Very low phase shift and harmonic distortion (unless pushed hard).
Push-pull design gives a natural warm sound with high output level.
Output trim controls for fine adjustment or lower level operation.
Balanced ins and outs with custom made Sowter transformers.
Bypass switch on each channel removes all electronics.
NEW SPECIAL FEATURES
Elma switches for gain and threshold controls.
Alpha switches for attack and release controls.
All Mullard and Siemens NOS valves.
Easy recall- ability.
Zero adjustment on front.
Precise calibration.
More gain than earlier Master Phoenix.
Standby switch to prolong valve life.
Distortion effects can be created with standby on.
Thermionic Culture Phoenix Side Chain STEREO TUBE COMPRESSOR Includes Side Chain Filters Vari-Mu compression type Free from solid state additives IMPROVED CHASSIS/METALWORK Transparent compression Punchy when pushed Flat frequncy responsie over entire audio rangeFor more information, please visit this products webpage.
The Pullet is a passive equaliser originally designed to complement the Earlybird pre-amp. The Pullet will provide a variable Q boost at 11 frequencies of 21 dB and simultaneously a cut at 11 frequencies of 21dB. In addition high top can be boosted or cut with a shelving filter. The Earlybird will provide the gain makeup required after a line level signal has been passed through the pullets passive EQ network. This provides an excellent arrangement due to the fact that the passive EQ of the pullet gives full control over any midrange frequencies whilst the active EQ of the Earlybird can give a smooth sounding control over the bass and top frequencies. The fact is that passive EQ can give a much better result when radically boosting or cutting mid frequencies with a tight Q than active EQ can ever do. Its possible to boost a narrow band of midrange by 21dB with a musical sounding result using the pullets passive network whereas an active EQ may well start to sound harsh and begin to ring. The pullet has lately been re-designed in order to allow it to be used with any preamp available. The preamp will need to give between 38 to 40 dB of gain makeup and it ideally will have an input impedance of 1200 . A range of commercially available preamps have been used during testing of the pullet and all have given excellent results. The high input impedance (10k) of the Pullet means that it will give optimum performance when placed in a chain after any piece of equipment. The mid boost frequencies are: 800 Hz 3.5 KHz 1.2 KHz 4.4 KHz 1.6 KHz 5 KHz 2 KHz 6.3 KHz 2.5 KHz 8.5 KHz 3 KHz The mid cut frequencies are: 230 Hz 2 KHz 340 Hz 2.8 KHz 500 Hz 4 KHz 700 Hz 6 KHz 1 KHz 8 KHz 1.4 KHz The air control will shelve as a lift from 15 KHz, 12 KHz and 10 KHz. It will cut from 15 KHz, 11 KHz and 6 KHz. Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
The Rooster is a 2 channel all valve preamp with EQ and distortion controls. It is designed for a wide range of applications and can produce a large range of tones, harmonic distortion and subtle dynamic control.
The pre-amp section can be used to add gain to mic, line or DI input signals. The double triode input valve (ECC81) provides a smooth sounding gain stage after the balancing input transformer.
48 volts can be applied to phantom powered mics by using the special toggle switch. The DI input bypasses the transformer to give a suitable high impedance unbalanced input.
The 'Attitude' section provides control over the amount of distortion inherently produced by the 5725 valve.
This valve is also found in the Culture Vulture circuit. In this case the distortion produced can be far more subtle giving specs of 0.01% distortion when the switched 'Attitude' control is at position 1. The distortion increases drastically as the 'Attitude' control is progressively switched from position '1' to position 'Max'.
Similarly to the Culture Vulture, the unit will tend to produce predominantly more 2nd order harmonics when in 'Triode' mode and 3rd order harmonics when in 'Pentode' mode. This provides a creative means of both tone and dynamics control over the input signal as well as allowing the user to select how much and what kind of harmonics are present in the signal.
The EQ section provides a simple yet powerful musical control over frequency content.
The Bass lift control gives a continuous control over the amount of bass using a unique ' varislope' curve which peaks at 60Hz.
The 'mid/high' lift control gives a bell type curve with variable gain peaking at either 2.5KHz / 4KHz or a 'varislope' curve peaking at 12KHz, all selected by the frequency select switch.
The 'Mid cut' control provides a bell type curve centred at 700Hz with continuous control over the amount of cut.
The 'Bass cut' switched control provides 5 positions with different cutting curves. The curves start off as high pass filters which get progressively higher in frequency and then turn into a shelving type curve that will also increase in frequency as the switch is advanced. These controls are intended to interact with the other EQ controls for a very flexible control over the entire frequency range.
The 'LPF' or low pass filter switch control will allow the high frequencies to be cut at a frequency suitable to stop harsh sounding harmonics standing out when excessive distortion is used, smoothing the resulting sound.
The output level control adjusts the signal going to the PCF 80 output valve and the final signal is balanced by a Sowter custom made transformer.
The level of output signal is represented by the 3 LED display.
Features
All valve signal path.
Sowter Transformer balanced ins and outs.
Unique 2 channel clean mic. amps with 'Attitude' control.
Option of 2 settings to select type of introduced distortion.
Versatile eq. with 'varislope' control of top and bass lift.
48v Phantom Power switchable to one or both.
Phase invert switch on both channels.
Mic./line and DI input.
Low pass filter.
High Pass filter.
Low noise, High gain and High output level.
Made in England
THE SNOW PETREL. Unveil the beauty of your favorite ribbon microphones in the most natural way, revealing sparkling clear highs down to harmonically rich lows.
Designed originally for use with the Coles 4038 as a super-clean low noise unit, after extensive field tests in UK, Norway and France, we’ve found it sounds exceptional with ANY microphone including the classic Neumann U 87, perhaps because:
We use extra-low noise valves with NO solid state impurities in the audio path, plus VERY special Sowter in and out transformers
Input impedance is higher than usual to preserve clarity and can be tailored to individual mics with the Hi/Lo and Pad switches
Incredibly musical and progressive saturation for distortion lovers when overdriven and by employing the fine and coarse attenuators
Controls include Gain, from 40 to 75 dB, switched, HPF to reduce “proximity effect” and “Air” to add that extra clarity.
Carefully hand made and tested in Harlow, England
Features include:
All controls are stereo except O/P TRIM and are indented for easy recall;'
HPF (High Pass Filter) operates at 20 & 40Hz with a 12dB/octave curve;
BASS BOOST and BASS CUT both have 2 selectable operating frequencies,which can be used together for a Mid Cut effect;
TOP SHELF is a broad Mid/Top Lift, a little like a Presence control. Also has 2 frequencies.
AIR boosts the higher Top and will give an amazing clear yet warm sound, only available with out valve products;
ATTITUDE is our own switch that adds those special 2nd harmonics only possible with valves! ;
OUTPUT TRIM - Separate controls to adjust finely the 2 channels, also -6dB switches;
XLR connectors, "semi floating" inputs and unbalanced outputs are employed;
A transformer balanced version is available to order, in Purple.
Features:
All valve 16 input summing mixer;
Each pair of inputs has its own on/off switch;
Inputs 13 to 16 can be switched to centre;
Attitude control adds musical 2nd harmonics;
Air control increases high top end without solid state harshness;
Frequency response extends well above and below audio range;
Easily enough output to drive your DAW and very low noise;
All inputs are “semi-floating” on XLRs;
Outputs are unbalanced. A separate Balancing Box is an optional extra;
Shares the same natural warmth as the Fat Bustard;
Extremely low distortion (< 0.1%) before Attitude is added.
Overview
This equaliser has been designed to be as much at home in tracking individual instruments or sitting across a stereo mix buss to equalise the final mix. As with other units of ours, such as The Phoenix, all controls are clearly labelled and setting up the EQ is quick and easy, so we named it after Britain’s fastest bird in level flight.
THE SWIFT utilises influences of 2 classic designs of the “golden days” of all valve recording with improvements to bring the specs up-to-date for today’s pro use, plus added features of our own designs.
The main electronics are based around a 1950s EMI desk but with extended top and bass response. It had a Baxandall type active EQ which we’ve kept and we added a Presence switch to give a broad band lift to mid/hi frequencies. This is based on one invented by Vic Keary in 1963 and used in his own mixing desks.
The mid lift controls are based on the Pultec design and are passive. For speedy operation and economy, we have chosen just 4 frequencies, with 3 “Q” settings.
Special features of ours are Hi Pass Filter, Mid Cut and “Air” (all passive). An interesting (Pultec type) effect can be obtained by setting the High Pass Filter at its last setting which combines a shelving bass cut with a filter at very low frequency, then using plenty of bass lift at either 50 or 100 Hz.
All pots are continuously variable. We have chosen not to use indented ones for subtlety and reliability reasons.
Gain is on switches, for comparison purposes. BYPASS switch disconnects the electronics so you hear the unadulterated
Thermionic Culture Ltd, May 2016 4 original signal. No metering is provided as it was deemed to be just a distraction. The Swift can output +20dBu without noticeable distortion and it’s practically noiseless.
4.089,00 €*
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