The new Mid-SideR came about as a response to hearing several requests from users of our original Mid-Side encoder/decoder box, and implementing them into a full rack space. First, we’ve added every bypass option we could think of in this Mid-Side processor. In addition to our overall Main Bypass, the Mid-SideR now offers a Mid-Side Encoder/Decoder Bypass (labeled Mid-Side Defeat) allowing the user to switch between using the available insert loop in Left-Right mode or Mid-Side mode, an Insert Bypass allowing the user to bypass the Mid-Side XLR out-in loop effectively bypassing their processing on the insert loop, to A/B they’re outboard gear processing in the Mid-Side insert loop with the original signal, as well as both a Mid Mute and a Side Mute to listen to exactly what you’re doing on only the Mid or Side. All this I/O is now conveniently accessed via an all high quality Neutrik XLR equipped rear panel. To take it a few steps further, we even added some additional EQ functionality as well as going to all high quality Rotary switches for the front panel controls. In addition to the original High Pass Filter on the Side(now with the easily recall-able rotary switch), we’ve added a High frequency Shelving EQ on the Side. Toggle between frequency selections of 5 kHz, 10 kHz, or 20 kHz to add presence or air on the Side information, effectively widening the Stereo Mix even more, or tame a bright mix by slightly lowering any harsh highs on the Side.

Mix bus, meet your new best friend.The Black Box Analog Design HG-2 is a line level, stereo unit designed to add saturation, harmonics, natural compression, increased RMS and enhancement during mixing and mastering. It is designed to easily and naturally do what usually requires multiple pieces of gear and do it better!Tubes, transformers & tone!The HG-2 uses Cinemag input transformers to feed two paths: The main signal path travels through a 6U8A Pentode tube stage that then drives into the Triode stage that follows, resulting in everything from subtle harmonics to full on saturation.Also fed from the input transformer is a parallel signal path that utilizes a set of 12AX7 tubes, voiced specifically for harmonics and saturation. This parallel saturation circuit is outfitted with a 3 way “Tilt” switch that allows the user to choose the frequency content of the signal feeding the circuit. The “low position saturates just the low mids and sub frequencies, the “flat” position saturates full bandwidth and the “high” position saturates only the high mids and high frequencies. The result is the ability to add top end to dull tracks, enhance low end or enhance and add energy to the entire signal. The “harmonics” knob allows the user to control how much of the processed, parallel signal is fed into the main signal before hitting the Pentode stage. Finally, both stages reach the passive output attenuation before a pair of Cinemag output transformers.In addition to the saturation stages, an “air” switch adds a subtle top end lift and the “alt” tube button switches between two different 12AX7 tubes in the parallel circuit. Switching between tubes allows the user to swap tubes for different types of saturation and switch back and forth instantly.The meter select chooses whether the meter is fed from the input or output, and the “bypass” switch is a true bypass that shorts the input directly to the output with no additional circuitry in line.Features: High voltage Pentode & Triode tube stages Parallel saturation with mix control 3-way “Tilt” frequency control over parallel saturation Instantly selectable/swappable saturation tubes “Air” lift Cinemag input and output transformers True bypass Selectable meter Illuminated push button switches & sealed relays Heavy duty steel chassis

A LEGEND’S REVIVALThe Dangerous Music S&M mid-side processing matrix is revered in the mixing and mastering community—cherished by those who possess it and pursued by those who don’t. Years after its extinction, the S&M returns to the audio wild in a limited supply. 100 units have been meticulously produced under the watchful eye of their creator, Chris Muth, each bearing his signature and an official numbered, metal credit card-style certificate of authenticity.ABOUT THE DANGEROUS S&MLegendary across the Billboard charts, the S&M cracks open a stereo track allowing the center and sides to be affected separately. Juice up the overall top end then de-ess that vocal without destroying the ethereal shimmer on the sides. Take your ‘perfect’ drum sound from a stereo pair of overheads, where the snare is too loud and resolve it in seconds with a limiter on the Sum channel. Peel back the mung from the bass so it punches hard, while never choking the guitars or heft-laden synth riffs. The S&M will create wider and tighter landscapes with a dram of sparkle. Deploy it classically or experimentally as a most potent creation tool.Mid-side processing matrix The Dangerous Music S&M mid-side processing matrix is revered in the mixing and mastering community. Insert your favorite outboard, split your stereo into Sides and Mid get to work. Juice up the overall top end then de-ess that vocal without destroying the ethereal shimmer on the sides. Take your ‘perfect’ drum sound from a stereo pair of overheads, where the snare is too loud and resolve it in seconds with a limiter on the Sum channel. Peel back the mung from the bass so it punches hard, without choking the guitars or synths. Deploy it classically or experimentally as a most potent creation tool. Features:Mid-side processing circuits designed by Chris MuthStepped Side ControlLimited Supply of 100 unitsOccupies only 1 RU of spaceInternal Power SupplyHand built in the USASpecifications:Note: Dangerous Music, Inc. publishes actual measured specifications, not theoretical numbers derived from data sheets published by chip manufacturers.Frequency Response: Flat within 0.1dB from 1Hz - 100kHz <0.002%THD + NOISE: <0.002%IMD60 4:1: <0.002%Sum and Minus channel speration: -78dBWidth control accuracy: 0.02dBuDynamic Range: 108dBNominal operating level: +4dBuMaximum Input Level: +23dBuInput Impedance: 25K OhmsBalanced Output Impedance: 50 Ohms BalancedDimensions & Weight:Unboxed dimensions: Depth 34,3 cm, Width 48,3 cm, Height 4,3cm (1HE)Unboxed weight: 5 kgScope of DeliveryManual3-Pin IEC auto-switching AC Power, 240V (Europe)Certificate of limited edition

The SIPP allows the engineer to use outboard processors in ‘parallel’ by allowing any desired mix of wet and dry paths using a continuously variable blend control. The source is fed to a single input and then split into two: The dry path represents the original source which can then be blended with the with the ‘wet’ path which consists of the same source routed to a balanced insert point. The user can connect any piece of outboard, or indeed pieces of outboard to the wet path to achieve a variety of effects. The most common application for this technique is in the implementation of ‘parallel compression’. This technique allows low-level parts of a signal to be brought up, while retaining the transients in the source. It works particularly well on drums and vocals as well as across the mix in both mixing and mastering applications. Other common uses include distortion as a parallel effect but in fact any process could prove to be creatively useful. The most essential element of any parallel process is that the phase relationship between the original source and the processed parallel remains intact. Digital Audio Workstations allow users to route signals out via DA and AD converters and mix the returning audio with the original. Many also compensate for the conversion delays induced in doing so. But the process can be subject to what is referred to as ‘inter-sample delays’ whereby the returning audio is subject to delays which are less than the value that can be represented by a single sample. Therefore the returning audio can be say, half a sample out of time, and no amount of compensation or nudging regions in the digital realm can perfectly align the two. Engineers have traditionally avoided this problem by sending a ‘dry’ signal out of a second converter pair and returning it alongside the processed one. The SIPP avoids this problem by doing the splitting and subsequent summing in the analogue domain. It is also a valuable tracking tool, before the signal has ever reached the digital recorder. As the SIPP splits the signal into two, it can also be used as a one to two, or two to four line level splitter. This is achieved by using both the main output and the insert send as outputs, while the parallel process is in bypass. So say for example you were tracking a vocalist using a compressor in the traditional way, but weren’t quite sure that the compression worked everywhere in the song, you could connect the compressor to the insert send, the compressor output to a second AD converter channel and bypass the parallel process. That way you’d be printing both a compressed and uncompressed vocal to the DAW with no need for an external mixing desk. The SIPP’s ability to split a signal can also allow it to be used to feed an equalised signal to a compressors sidechain. The original source is fed to the SIPP’s input. The insert send is connected to an eq, and the return of the eq to a compressor sidechain input. The parallel process is bypassed. The output of the SIPP is the connected to the compressors audio input. Now the sidechain can be eq’d without the need for a separate eq’d source to be sent from the workstation. Equally it can be used as a pair of two to one line mixers by using the standard inputs and insert return points as inputs. The blend controls the adjust the relative balances between the sources. Say for example you wanted to blend snare top and bottom mics together, compress them and record to disk as a single file, you could feed the snare top to the input, the bottom mic to the insert return and blend to taste. The resulting output would feed the compressor. To take this idea a step further, the ouput from channel one could feed the input to channel two, allowing you to parallel compress or distort the blended snare mics. The SIPP can also be used as a high quality stepped attenuator. Say for example you want to run your preamps ‘hot’ for sonic reasons, as many API users like to do, but you don’t want to risk overloading your converters, you can use the SIPP’s stepped gain control to allow you to do this. Just because the parallel path is there, it doesn’t mean you have to use it.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

Elysia nvelope The nvelope is a powerful audio processor capable of making subtle or drastic changes to a sound by providing control over its attack and sustain characteristics. This is extremely useful for reshaping all sorts of individual tones, and is a wonderful tool in any mixing situation as well. The nvelope operates independently of the specific level of a signal, and (unlike with compressors) you do not have to spend a lot of time trying to balance a set of complex controls to quickly get the results you seek. With its unique Dual Band mode, the nvelope gives you enhanced control over processing, and can easily handle complex program material. Additionally, its dynamics sections can be bypassed, allowing it to function as a flexible high/low shelf EQ... So, the nvelope is a dynamics processor that can change the character of a sound by altering its impulse structure. It gives you direct control over the envelope of a signal by shaping its attack and sustain intensity.More specifically, a drum set (or individual drums) can be made to sound more aggressive and punchy by accenting the attack, or tones that are already overly aggressive can easily be tamed. Other useful applications would be on picked or slapped bass, edgy guitar or any kind of piano recording. Generally speaking, the nvelope works optimally on audio signals with a significant/percussive attack structure. As a balance to the attack shaping, the sustain parameters offer control over room sound and space. An instrument or a reverb tail can sound tighter by reducing its sustain, or can gain more depth/make a signal sound longer by increasing it. The nvelope is a great tool for shaping individual signals, but it can be an indispensable resource in mixing situations as well, as it effortlessly helps you to bring a sound to the front with more attack and less sustain… or blends it gently into the background by reducing its attack and increasing its sustain. A unique feature of the nvelope is the enhanced tweakability offered in Dual Band mode. Individual frequency controls for attack and sustain yield excellent processing results without unwanted artifacts, even when utilized on complex material like a summing bus. We’re sure you’ll be happy to know the nvelope offers true dual mono or linked stereo operation whether you are using it in Full Range, Dual Band or EQ mode. When the nvelope is not in Stereo Link mode, the two individual channels can be used as different processors simultaneously. For example, you can shape one signal in Dual Band mode in channel L and a completely different signal in Full Range mode in channel R. Or, you can connect the output of channel L to the input of channel R, and then process the frequency response with the EQ first, followed by some nice Dual Band impulse shaping... As you can imagine, there are lots of possible combinations! Discrete Class-A Topology As a true elysia specialty, the audio path of the nvelope is completely based on discrete circuitry and does not use any integrated circuits at all. To explain the advantages of discrete circuitry we’d like to present a comparison that might seem a little odd at first: audio technology vs. cooking! If somebody uses instant meals exclusively, he will have to accept whatever comes out of the box. A creative cook, however, focuses on his own special recipes and ingredients. In this respect, integrated circuits (ICs) are pretty similar to packet soups: they are cheap, mainstream and they simply do not match haute cuisine. So if you want to design an analog audio device 100 % according to your own demands and ideas without any compromise, there will be no way around a discrete design. The nvelope follows this philosophy consequently. Its complete audio path is a new design which is based on the exclusive use of high grade discrete components. A truly unique recipe! In addition, our signal shaper operates in permanent class-A mode. This means that the transistors are always conductive, resulting in the absence of crossover distortion and providing a pristine sonic base: the general sound character is always wide, open and punchy. Full Range Mode In Full Range mode, the attack and sustain intensity of a signal can be raised or reduced fast and efficiently with just two controllers. The nvelope is a powerful audio processor capable of making subtle or drastic changes to a sound by providing control over its attack and sustain characteristics. This is extremely useful for reshaping all sorts of individual tones, and is a wonderful tool in any mixing situation as well. The nvelope operates independently of the specific level of a signal, and (unlike with compressors) you do not have to spend a lot of time trying to balance a set of complex controls to quickly get the results you seek. Full Range mode is especially fast and easy to use, as all you need to do is dial in more or less attack and sustain by turning their specific controllers to the left (reduction) or to the right (increase). Similar to a compressor and unlike in Dual Band mode, you can use the Freq A controller to reduce the influence of low frequencies on the attack processing (higher frequency = less bass influence). Dual Band Mode This mode functions basically the same as Full Range, but it provides more tweakability by assigning the attack and sustain controls to individual frequency selectors. The unique Dual Band mode of the nvelope takes you to the next level of impulse shaping. The attack and sustain parameters become much more flexible by selectively processing a certain frequency range chosen by the user. The Freq A controller now sets the start frequency for attack processing, while the Freq S controller determines the end frequency for sustain processing. The function of the Attack and Sustain controllers remains the same as in Full Range mode. So it is pretty likely you'll find yourself using the Dual Band mode in any situation where you would like to adapt the way the nvelope processes more individually and on material which tends to produce unwanted artifacts in Full Range mode. Generally speaking, Dual Band mode gives you more distinct processing options and the possibility to even cope with complex material like a summing bus. EQ Mode The nvelope can mutate into a two band equalizer with a high/low shelf characteristic, and even here the channel link for processing stereo material can be activated. A very nice side effect of the topology of the nvelope is that it can also be used as a shelving filter. This is achieved by temporarily deactivating its dynamics sections while keeping the the filter stages active. Freq A now sets the frequency of the high shelf filter, while Attack determines the amount of cut (turn left) or boost (turn right) in this band. Similarly, Freq S sets the frequency of the low shelf filter and Sustain determines the amount of cut or boost. The special architecture also allows for another nice feature which is kind of hard to find on other EQs: Not only can the two channels be used as two separate equalizers at the same time, but they can be linked for processing stereo material conveniently as well. Mixed Mode When Stereo Link mode is not active, the two individual channels can be used as completely different processors at the same time. The nvelope really gets the best out of its two separate channels. It can be two channels of Full Range or Dual Band impulse shaper or shelving EQ, which can be operated stereo linked or dual mono. But, the two separate channels can also be used for different tasks at the same time. For example, you can shape one signal in Dual Band mode in channel L and a completely different signal in Full Range mode in channel R. Or, you can connect the output of channel L to the input of channel R, and then process the frequency response of one single signal with the EQ first, followed by some nice Dual Band impulse shaping. A you can imagine, there are lots of possible combinations...   Dual Mono/Stereo Link For ultimate flexibility, the nvelope offers true dual mono and linked stereo operation as well – no matter if you are using it in Full Range, Dual Band or EQ mode. The header says it all, but you might want to have a look at the possible channel combinations resulting from this. Ultimate flexibility! Stereo Link: 2 x Full Range2 x Dual Band2 x EQDual Mono: Full Range – Full RangeFull Range – Dual BandFull Range – EQDual Band – Full RangeDual Band – Dual BandDual Band – EQEQ – Full RangeEQ – Dual BandEQ – EQ Auto Gain Should distortion or huge jumps in level occur as an unwanted side effect of the attack processing, the Auto Gain function will compensate and get the level right. Boosting the attack in Full Range mode can sometimes result in some pretty huge level peaks. These can make your processed signal sound uneven, and in the worst case they will create the nasty kind of distortion you don't want. The nvelope solves this very conveniently with the Auto Gain function. This simple button makes the impulse shaper automatically compensate stronger level peaks, so this can be the solution for many level-related issues caused by the attack processing. By the way, Auto Gain is typically not needed in Dual Band operation and therefore not offered in this mode. Also, Auto Gain does not have any influence on a channel operating in EQ mode. Stepped Potentiometers The frequency potentiometers have 41 steps for an easy recall, while the gain pots have a center detent for finding their neutral position at once.

Every single of its many aspects – sound, features, circuitry, components, design, materials, manufacturing – has been thought over and over until there was just nothing left to improve. Basically, every single part of our fine products is custom, and most of these are made according to our own designs and specs. Only the best components the market has to offer are good enough for the nvelope, and it shows. Each of our product is manually built to order and tested by ourselves, here at our headquarters in Germany. Our product benefits sum up in an audio quality that is beyond all doubt. Even when extreme settings are used, the sound always stays clean and powerful. The nvelope Mastering Edition provide stepped controller and precise control range of +/-5dB. Features Class-A Stereo Transient Shaper for mixing and mastering Developed by Ruben Tilgner, the creator of the original SPL Transient Designer Precision control range of +/- 5dB, specifically designed for mastering applications All potentiometers are detented – perfect for quick and accurate session recall Full Range Mode (Classic Mode) Exceptionally sounding Shelf Equalizer Mode Dual Band Mode Best-sounding Transient Designer on the market Ideal for drum room or overhead microphones Can be used as Dual Mono or in full Stereo Link Pleasant and natural sound for all acoustic instruments

nvelope 500 is a powerful audio processor capable of making subtle or drastic changes to a sound by providing control over its attack and sustain characteristics. This is extremely useful for reshaping all sorts of individual tones, and is a wonderful tool in any mixing situation as well. Especially drums and other percussive signals will benefit big time from the nvelope’s magic. The nvelope 500 can effectively change the spatial perception of a signal, ranging from small/dry to large/wet. You can form a signal and enhance its cut in the mix without deforming it too much as you would by using excessive EQ and compression.

Sonic Bliss For Any Source And GenreWhat is one of the biggest problems for recording, mixing, and mastering engineers today? Figuring out a way to bring life and impact to music that sounds stunning and yet does not consume immense amounts of time and is easy to recall. Enter the Hendyamps Collins - Problem solved!The Collins is intended to be the definitive solution to all sonic needs by giving the user the ability to enhance individual tracks, buses, or full mixes with any combination of transformers, mosfets, pentode tubes, and triode tubes.HIGH VOLTAGE MOSFETSThe Mosfet stage, running close to 400v, provides a truly unique and incredibly rich tonal response. Based on the Warhol preamp, this stage is able to provide a punchy and full sonic imprint, fulfilling the need for quick transient response as well as a density increase that can take an audio track from boring and lifeless to immense quite easily.PENTODE TUBESThe Pentod stage runs EF806 (EF86) tubes which are known for their articulation and aggressive behavior. On a track or mix this stage is often pure magic as it tends to add a little brightness and raw energy throughout the sonic spectrum, something that is almost always a welcome addition.TRIODE TUBESThe Triode stage is all about rich, creamy harmonics, adding a gloss over everything it touches. Often this stage will add a smoothness throughout the sonic spectrum, hiding issues in a track or mix, and especially bringing a warmth to the low mids. Usually when an engineer is looking for something to add a final polish to a mix, this is the perfect solution.TRANSFORMER 1The first transformer is actually an odd choice for a "line level" piece of gear, but the intention was to both squeeze as much tone out of a transformer as well as allow the Mosfet, Pentode, and Triode stages to open up a bit more at the same time. This transformer is a 1:4 step up, but wired backwards, meaning when engaged, the volume will drop and one or more of the gain stages will need to be used to bring the volume back up. This transformer should provide a compression to the signal as well as a perceived tightening of the low end and provides some outstanding results. TRANSFORMER 2 The second transformer is actually a power supply choke (think more inductor) but with a bypass capacitor applied in order to allow the low pass created by the transformer to return to "full band". The result is that there is a light dip in the low mids which is wonderful for removing the "mud" from a track, along with adding some rich texture to the highs especially. AIR and CRUNCH The Collins includes an Air switch in order to give a subtle boost in the highs when desired. As well, there is a Crunch switch that allows you to engage a diode based hard limiting circuit that offers anywhere from light clipping to heavy distortion as desired, interacting with the Trim control. TRIM AND FULL OPERATIONThe Collins is a truly unique design and provides an infinite number of options and possible combinations, but is still quite easy to use. In order to accomplish this, the two Transformers were placed in series and the gain stages were placed afterward, and yet the gain stages were designed to be in parallel with each other. Each stage and transformer can be completely removed from the circuit with the flip of a switch, and as such, everything becomes interactive. As well, combining multiple gain stages naturally produces a wide variety of volume levels and thus, a Master Trim control was included in order to set a final output level. MICHAEL ROQUE COLLINSHendyamps has a habit of choosing names for its studio gear based on various artists that best encapsulate the sonic images it paints (at least in the mind of Chris!) and for this piece of gear Chris chose the painter Michael Roque Collins because Collins' complete body of work has demonstrated a complete mastery of nearly every style and genre. His own style is both beautiful and haunting, but his ability to walk into any artistic world is both legendary and inspiring, and as such, Chris believed it best described the Collins' ability to bring sonic beauty to any musical genre and do so in a fresh and beautiful way (it probably helps that Chris studied painting under Collins for several years!).Included FeaturesFull Stereo DesignTrue Bypass SwitchesControls for Mosfet, Pentode, Triode, and TransformersStereo Trim KnobLeft and Right Calibration KnobsStepped control option availableTransformer balanced inputAll hand-wired constructionAll hand wired constructionDesigned and built in the USA

More Vibes & Mojo in a BoxTHE COOKER is a High Voltage Tone Conditioner This analog processor is truly ONE OF A KIND! It combines the tonal impact and energy of high voltage solid state circuits with the vibrant and thick sounds of custom transformers, providing the user with stunning sonic enhancement...nothing less!The range of control on this box is extended and very versatile, going from super subtle to aggressively pushed. Energizing the tracks, buses, mixes and masters, it can actually be the "Life Of the Party"In addition to the TEMP function knob that is known from THE OVEN legacy which gives more energy and impact, there are two intensity settings WARM and HOT that control how much saturation can be applied to the TEMP knob.We also added more functions, such as FRY and SEAR, which are Tonal Conditioners that affect the sound in a very unique way. This tonal conditioning is not the "standard" kind of conditioning, but more of the "strange and weird" type so you can dial in something unpredictable but unbelievably special.The CRISPER function gives you the WARM AIR sound that is associated with THE OVEN Legacy, and this is a magic knob for sure. It opens up the sound in a pleasing way that lets it stick out just enough to be noticed.The STEAM control will get you the gain push needed to enter the unit like an input drive and the PRESSURE will allow you to adjust the output level and saturated harmonics.Last but not least, the PRE-HEAT switch..... turn it on for that "EXTRA EXTRA ..... READ ALL ABOUT IT" Energy push like as if you had consumed two bottles of 5 hour energy shots.... It engages an extra stage and pushes an additional custom transformer to the circuit.A Masterclass In ToneAnother unique feature of The Cooker is that when you purchase one, you are not simply getting an incredible piece of gear. You are also getting a one-on-one masterclass with Maor Appelbaum where he is able to personally walk you through his Cooker workflow and methodology, as well as help you fully integrate your new Cooker into your setup. The value of this experience is truly outstanding and will provide you the confidence to get the most out of your purchase for years to come!Included FeaturesFull Stereo DesignTrue Bypass SwitchesKnob Controls for Mosfet and transformer based colorationSteam Knob ControlTemp Knob ControlTemp Toggle SwitchCrisper Knob ControlCrisper Toggle SwitchFry Knob ControlFry Toggle SwitchSear Knob ControlSear Toggle SwitchPressure Knob ControlPre-Heat Engage SwitchesLeft and Right Calibration KnobsMosfet based amplificationTransformer balanced inputTransformer Balanced outputAll hand wired constructionDesigned and built in the USA

More Vibes & Mojo in a BoxTHE GRILL - The Solid State sibling to The Oven and The Stove! This unit brings another dimension to the OVEN family - It's Tight, It's Punchy but also warm and round and has special extra features that include more saturation options and overdrive. This extra tonal injection can get more drive to the tracks and make them jump out but stay thick and full.THE GRILL is also recommended for live show mixing as it is fully Solid State so it's less sensitive to road life than Tube units are and there is simply no better way to bring a venue to it's maximum sonic potential!The Third Sibling Brings Attitude!The BLAZE Control Knob alters the drive circuit, allowing you to push both the multiband and broadband sections for extra juice. This knob is the "Governor" and the key to making the big changes. A "Little " can be just "Enough" to make it work for you. This is a very powerful unit and with power comes responsibility. It can stay punchy and tight even in some very aggressive settings and will give an authority to the sound while increasing perceived level while sounding deep and rich.The BLAZE "RANGE" switch allows you to choose between driving it "SHORT" or "LONG" thus increasing the intensity of the BLAZE function knob range if needed Two modes: One light on the saturation (SHORT) and the second (LONG) is driven harder giving it a saturated tone. A little can go far on this LONG setting. It can make VST Synths and drum machines come alive!!!The ROAST control is the Wildcard here!!!!! It allows the user to introduce the additional Solid state stage into the circuit for a tight and clean saturation that will enrich anything that plays through it. It can sound thicker and "charged" while staying in the same sonic territory but more penetrating & apparent with enhanced and rich harmonics that embrace the sound and create a sense of fullness and depth easilyThe FRIZZLE controls the Sizzle - The name is the game and this one only goes up - It's a boost knob only and you have two modes for it: High .... and even higher (it's like the warm air sound you get in The Oven)The LOW BURN, MID BURN, TOP BURN controls (as we call them: THE BURNERS), give the user the ability to drive certain bands for more saturation when desired. Each band operates in a way that engages the entire circuit as a whole processor in order to give an incredible diversity of options and tone enhancing saturation. This maximizes the versatility of the unit in a way that is quite rare. You can boost and cut the saturation and tonal shaping in creative ways like using big brush strokes in a painting.Each BURN TYPE switch will alter the area covered by the BURN and FRIZZLE controls. It's like getting two at the price of one!The BUNSEN switch alters the TOP BURN control so that it provides more range to work with. This gives the user four different tonal options on the TOP BurnerThe area where it is very important to get the right harmonics and tone to make the track get its presence and openness in the mix and masterThe Grill has a hidden feature, and It's called " SMOKER". It changes the GRILL from "The Normal Mode" of the unit to a MOSFET DRIVER / SATURATOR. It works with only two knobs ROAST & FLOW (eliminating all the others) and gives you an easy operation and control of the amount of SolidState drive and the output. The sonic results of this isolated HI-Fi Solid State drive stage are of amazing quality and bring out excitement that sounds expensive. You can control the Mosfet voicing using the Neutral and Enriched settings toggle switch and change the Intensity with the Elec / Pellet / Gas toggle Switch - from light and subtle to aggressive overdrive and everything in between. This special feature is AMAZING for overall saturation that can be of use on instruments, buses and even on a mix bus or mastering applications. The BLOW TORCH - As the name suggests. It's when all hope is gone and you need to "Burn the place to the ground. "This switch turns on the Overdrive circuit to push things to an edgy saturated state (it's not Armageddon, so the overdrive is actually useful for saturating instruments, busses and parallel buses and you have two options to apply A & B (the center position is the normal unit).A Masterclass In ToneAnother unique feature of The Grill is that when you purchase one, you are not simply getting an incredible piece of gear. You are also getting a one-on-one masterclass with Maor Appelbaum where he is able to personally walk you through his Grill workflow and methodology, as well as help you fully integrate your new Grill into your setup. The value of this experience is truly outstanding and will provide you the confidence to get the most out of your purchase for years to come!Included FeaturesFull Stereo DesignTrue Bypass SwitchesKnob Controls Mosfet based Multi-Band saturationBlaze Knob ControlBlaze Toggle SwitchRoast Knob ControlRoast Toggle SwitchsLow Burn Type Toggle SwitchMid Burn Type Toggle SwitchHigh Burn Type Toggle SwitchBunsen Toggle SwitchFrizzle Knob ControlFrizzle Type Toggle SwitchStereo Flow/Output KnobLeft and Right Calibration KnobsMosfet based amplificationTransformer balanced input and outputAll hand wired constructionDesigned and built in the USA

Vibes & Mojo in a BoxWhat happens when Internationally Acclaimed Mastering Engineer Maor Appelbaum teams up with Hendyamps?Something good is "Cooking" for sure!Welcome THE OVEN - A tool that can seriously enhance ANY track you put into it. As the name states it's the device to "Cook, Bake & Broil" any sound source, stem, group, stereo sub group, stereo mixbuss and mastering chain. This is not a typical eq, Its a Vibe / Coloration / Mojo box with tonal shaping options It will add Warmth, Size, Depth, Mojo, Vibe, Color, Saturation and Sizzle to your tracks.Anything from subtle HiFi enhancement that you barely hear (until you bypass and feel something is missing) to saturated and driven aggressive sounds, and everything in between. Taken from Maor Appelbaum's personal creative mastering concepts and built with HendyAmps' impeccable knowledge of creating some of today's most unique analog processors, we bring you a creative and versatile tool for the current Composer / Producer / Engineer / Mixer and Mastering EngineerSo when they ask What's Cooking??? We can proudly say "THE OVEN"!FEATURESThe BYPASS switches allow the user to completely disengage The Oven at any time in order to properly A/B a mix (true bypass). We mean TRUEThe FLOW control allows the user to match the volume coming from The Oven to any desired level. If you go FULL ON AGRESSIVE you can drop FLOW in order to lower the output so it wont clip the next gear in line or the converters.Left and Right CALIBRATION is used to Gain match the Left and Right signals, accounting for any volume discrepancies encountered. Interestingly enough, these calibration controls can also be used to alter the tonal response of The Oven if so desired. For example, it is possible to bring the Calibration volumes up and the FLOW down, resulting in The Oven driving the signal harder than normal, increasing saturation. If your rig is running very hot you can lower the calibration settings to get more headroom coming in the unit to avoid oversaturation.The TEMP Control Knob alters the drive circuit, allowing you to push the Tube and SolidState sections for extra saturation. This knob is MAGIC and the key to making the changes. Small Moves = Big Changes. It can stay punchy and tight even in some aggressive settings.The TEMP RANGE switch allows you to choose between driving it LOW or HIGH thus increasing the intensity of the TEMP knob range if neededIt's Like having two modes, one light and easy on the saturation and the second hotter and pushed giving it the energized feeling. A little goes a long way on this HIGH setting.The COOK control is GOLDEN ! It allows the user to drive the pentode tube stage for an overall thick saturation that will enhance literally anything that runs through it. It can feel bigger without adding much level, thus staying in the same " Zone" but warmer & rounder with rich harmonics that are easy on the ears and create a sense of fullness with not much effortThe BAKE/BROIL switch allows the user to change the voicing of the tube and how it responds to transients. In BAKE it will operate with full dynamic response whereas in BROIL it will naturally compress the signal and increase the saturation complexity. That's where you can make it HIFI, MOJO-FI, and anything in between to be VIBE-FIThe ELEC/GAS switch allows the user to increase the push of the COOK control. ELEC will be the more subtle and clearer sound and GAS will be presenting a more bold, thicker and harder treatment option, in this case Intensity is not a dirty word.The LOW BURN, MID BURN, TOP BURN controls (as we call them: THE BURNERS), give the user the ability to drive certain bands for more saturation when desired. Each band operates in a way that engages the entire circuit as a whole processor in order to give an incredible diversity of options and tone enhancing saturation. This maximizes the versatility of the unit in a way that is quite rare. You can boost and cut the saturation and tonal shaping in creative ways like using big brush strokes in a painting. The SIZZLE control - The name says it all and this one only goes up ( not in flames ) - It's a boost only and you got two modes for it: Higher.... and More Where That Came From!Each BURN TYPE switch will alter the area covered by the BURN and SIZZLE controls. It's like getting two at the price of oneThe BUNSEN switch alters the TOP BURN control so that it provides more range to work with. That gives the user four different tonal options on the TOP BurnerThe area where its very important to get the right harmonics to make the track get its presence in the mix and masterThe BURNED switch changes the Oven into a lofi environment where the signal begins to narrow its bands of operation a bit and also brings a higher level of distortion with it.A Masterclass In ToneAnother unique feature of The Oven is that when you purchase one, you are not simply getting an incredible piece of gear. You are also getting a one-on-one masterclass with Maor Appelbaum where he is able to personally walk you through his Oven workflow and methodology, as well as help you fully integrate your new Oven into your setup. The value of this experience is truly outstanding and will provide you the confidence to get the most out of your purchase for years to come!Included FeaturesFull Stereo DesignTrue Bypass SwitchesKnob Controls for Tube and Mosfet based Multi-Band saturationTemp Knob Control - Temp Range Toggle SwitchLow Burn Type Toggle SwitchMid Burn Type Toggle SwitchHigh Burn Type Toggle SwitchBunsen Toggle SwitchSizzle Type Toggle SwitchStereo Flow/Output KnobLeft and Right Calibration KnobsPentode and Mosfet based amplificationTransformer balanced in and outAll hand wired constructionDesigned and built in the USA

More Vibes & Mojo in a BoxA Box filled with Vibes & Mojo??? We did it already with The Oven and now we are back again with THE STOVE. It sounds much different and includes some extra features and extra juice This is what happens when Internationally Acclaimed Mastering Engineer Maor Appelbaum teams up with Hendyamps - We "cook" something very very HOT!!!!!THE STOVE - A new tool for your arsenal that can Enhance ANY track you put into it - BIG TIME!!!!As the title states it's the device to " Simmer and Flame " up any sound source, stem, group, stereo sub group, stereo mixbuss and mastering chain.This is not a standard eq , Its a Vibe / Coloration / Mojo box with tonal shaping options that can reach very far but stay classyIt will add Warmth, Size, Depth, Mojo, Vibe, Color, Saturation and Sizzle to your tracks. Anything from subtle HiFi enhancement to saturated and driven aggressive sounds, and all the area in between.This collaboration features Maor Appelbaum's creative sonic approach and HendyAmps' impeccable knowledge of creating some of today's most unique analog hardware processors - we bring you a top tier creative and versatile tool for the adventurous Composer / Producer / Engineer / Mixer and Mastering EngineerThis is "The Sibling" of the Oven and It's a tight, clean and clear saturation approach with a musical sounding eq. It can be on its own or with its "Sibling" The Oven and they compliment each other very well. I Know What We Need....MORE TONE!The BYPASS switches allow the user to completely disengage The Stove at any time in order to properly A/B a mix (true bypass).The "Flow" control allows the user to set the volume coming out from The Stove. It affects the overall volume and tonal impact of the unit as well, hence, why its called "Flow "How much is flowing from Gain stage one to Gain Stage two of the unit. When set to max (default) you will have the full sound of the unit with all its harmonics, or you can lower the output so it wont clip the gain staging of the unit ( 2nd Gain stage ) and the next gear in line or the converters.Left and Right CALIBRATION is used to Gain match the Left and Right signals, accounting for any volume discrepancies encountered. Interestingly enough, these calibration controls can also be used to alter the tonal response of The Stove if so desired. For example, it is possible to bring the Calibration volumes up and the Flow down (the flow knob used to attenuate the output), resulting in The Stove driving the signal harder than normal, increasing saturation. If your rig is running very hot you can lower the calibration settings to get more headroom coming in the unit to avoid oversaturation.The SIMMER Control Knob alters the drive circuit, allowing you to push both the solid state and tube sections for extra juice. This knob is the "MAGIC" and the key to making the big changes. Small Moves = Big Changes. It can stay punchy and tight even in some very aggressive settings and will give an IMPACT to the sound while increasing volume and cohesion in a subtle way while still sounding rich and open.The Simmer "RANGE" switch allows you to choose between driving it "SHORT" or "LONG" thus increasing the intensity of the SIMMER knob range if needed - It's Like having two modes, one light on the saturation (SHORT) and the second (LONG) is pushed and driven giving it a saturized tone.. A little goes a long way on this LONG setting. It can especially make 808s come alive!!!The FLAME control is the Diamond here!!!!! It allows the user to introduce the Triode Tube stage (12AX7) to the circuit for a tight and clear saturation that will enhance literally anything that runs through it. It can sound bigger without adding much level, thus staying in the same sonic " Zone" but more upfront & in your face with rich and open harmonics that are smooth but clear on the ears and create a sense of fullness and depth with not much effort.The NEUTRAL / ENRICHED switch allows the user to change the voicing of the tube and how it responds to transients. In NEUTRAL it will operate with full dynamic response whereas in ENRICHED it will get the vibe of a "Hot-Rodded" machine with a saturated wide mid presence that pushes forward.The ELEC/ OIL / GAS switch allows the user to increase the energy of the FLAME control. ELEC will be the more subtle and clearer sound while GAS will be representing a bold, thicker and harder treatment option. Oil is the " In between" sound where it is powerful enough but not too aggressive. Each setting will react differently to the incoming music, so having a switch to toggle between the three options makes it very easy to audition the Flame Knob setting and deciding which one works best for the source material.The LOW BURN, MID BURN, TOP BURN controls (we call them: THE BURNERS), give the user the ability to drive certain bands for more saturation when desired. Each band operates in a way that engages the entire circuit as a whole processor in order to give an incredible diversity of options and tone enhancing saturation. This maximizes the versatility of the unit in a way that is quite rare. You can boost and cut the saturation and apply tonal shaping in creative ways like using big brush strokes in a painting.The SAUTE control - The name says it all and this one only goes up (not in flames!) - It's a boost only and you have two modes for it: Higher.... and More Where That Came From!Each BURN TYPE switch will alter the area covered by the BURNER and SAUTE controls. It's like getting two at the price of one!The BUNSEN switch alters the TOP BURN control so that it provides more range to work with. That gives the user four different tonal options on the TOP BurnerThe area where its very important to get the right harmonics to make the track get its presence in the mix and masterThe ASHES switch changes the Stove into a lofi environment where the signal begins to narrow its bands of operation and becomes charred and crunchy (thats why its ashes - what's left???)The Stove has a hidden feature (well now that you know its not as hidden) and It's called INDUCTION. It changes the STOVE from "The Normal Mode" of the unit to a TUBE DRIVER / SATURATOR. It works with only two knobs FLAME & FLOW (eliminating all the others) and gives you an easy operation and control of the amount of tube drive and the output. The sonic results of this isolated hifi drive stage are of the highest quality and brings a clarity that sounds expensive and harmonically rich. You can control the Tube voicing using the Neutral and Enriched settings toggle switch and change the Intensity with the Elec/Oil/Gas toggle Switch - from light and subtle to aggressive overdrive and everything in between. This special feature is AMAZING for overall saturation that can be of use on instruments and even on a full mix or master. A Masterclass In ToneAnother unique feature of The Stove is that when you purchase one, you are not simply getting an incredible piece of gear. You are also getting a one-on-one masterclass with Maor Appelbaum where he is able to personally walk you through his Stove workflow and methodology, as well as help you fully integrate your new Stove into your setup. The value of this experience is truly outstanding and will provide you the confidence to get the most out of your purchase for years to come!Included FeaturesFull Stereo DesignTrue Bypass SwitchesKnob Controls for triode Tube and Mosfet based Multi-Band saturationSimmer Knob Control Simmer Toggle SwitchLow Burn Type Toggle SwitchMid Burn Type Toggle SwitchHigh Burn Type Toggle SwitchBunsen Toggle SwitchSaute Type Toggle SwitchStereo Flow/Output KnobLeft and Right Calibration KnobsTriode and Mosfet based amplificationTransformer balanced inputTransformerless outputAll hand wired constructionDesigned and built in the USA

The Overstayer M-A-S gives you the harmonic character and peak rounding of classic recording and mixing chains in a simple, highly controllable rack-mount unit. The limiting nature of the M-A-S stages rounds and bends peaks resulting in increased apparent volume, without the timing artifacts associated with compression. Its integrated pushbutton High and Low EQ presets, High Pass Filter and Emphasis circuits help further shape the harmonic content of source material. Use it on the individual tracks for cumulative benefits. The M-A-S can add consistency as peaks and harsh transients get smoothed and absorbed into the performance, making balancing tracks in the mix easier, and lessening the need for bus limiting down the line. Used on a full mix, the added harmonic content can energize, and add cohesiveness and detail. The Mix control allows the character to be balanced to taste. Bring harmonics and tone to your bass, synths, drum machines and samplers with the integrated front panel high impedance input. Features: 2 channels in a single space 19” rack-mount chassis Highly controllable, reactive analog chain that bends transient peaks and adds low order harmonics, simply brings analog character and vibe to any source Increase apparent loudness without timing artifacts Integrated EQ, filter and emphasis curves to shape harmonic content Mix control to balance processed to unprocessed signal High impedance input to bring the analog goodness to bass, synth, and drum machines Universal power supply included with 5 pin XLR connector and US IEC cable

The Overstayer Saturator is a 100% analog dual channel harmonics and distortion processor, with tone shaping filters and multiple amplifiers for a wide of array of character, from subtle thickening to extreme distortion, balanced to taste with an integrated blend contro

The Overstayer Stereo Voltage Control combines the gain control and punch of VCA gain cells, the warmth and character of our discrete analog Harmonics circuitry, and the sculpting power of an ultra-smooth 2-band shelving EQ. The SVC has dynamics control from fast peak limiting to smooth RMS compression, with multiple starting ratios and a Behavior control to create new and unique envelopes. Use the LEVEL control to drive into Harmonics to further bend transient peaks, adding musical harmonic color and cohesiveness as well as increasing apparent volume. The EQ and filters allow you to shape and drive as much low warmth or smooth top presence as desired. Each of its multiple stages can add its character and harmonics, cumulatively transforming the signal in a way not normally possible within a single device. The integrated blend control allows even aggressive settings to be balanced tastefully. You can further create custom compression shaping by using the sidechain high-pass filter for low end response, or even further by using the external sidechain insert. Features: Highly interactive stereo dynamics, tone, and harmonics control Controllable dynamics from fast peak limiting to smooth RMS compression VCA gain cell configured to be driven and impart its own harmonic coloration Wide ranging timing controls combine with behavior for extreme transient and sustain shaping Dial in presence and restore high end with the stereo high shelf EQ Interactive low end control with the integrated sidechain filter, low shelf EQ, and 50 Hz low cut filter with resonance peak 10 segment LED Gain Reduction meter Universal power supply included with 5 pin XLR connector and US IEC cable