Signal Processors

The Manley Labs VOXBOX is the all-tube channel strip for vocals, but it can also enhance all other sound sources. The VOXBOX has the same comprehensive microphone preamp concept as the award-winning Manley mono microphone preamp and offers a generous headroom and the typical sound of a Class A tube circuit. In addition, the well-balanced compressor section provides a perfect blend of the popular Manley Variable MU and the electro-optical ELOP. Together with the flexible Pultec-style mid EQ, the de-esser/limiter section and the stereo link function, these features make the VOXBOX a real workhorse for professional sound processing.All-tube signal path:Since the late 1980s, Manley has consistently focussed on premium all-tube products. In short, Manley really knows tubes - and the VOXBOX shows it. Manufactured in the USA, this channel strip scores with its all-tube Class A circuitry and the exceptionally high manufacturing quality typical of Manley.Fully equipped microphone preamp section:As the name suggests, the Manley VOXBOX is characterised by an outstanding microphone preamp section. In fact, the preamplifier circuit comes directly from the popular Manley mono microphone preamplifier and therefore has all the prerequisites for an excellent analogue sound - regardless of whether the signal is fed in via the conventional balanced XLR connection, the balanced line input or the instrument input on the front panel. With the adjustable input attenuation upstream of the first tube stage, line level signals with +4 dB or instruments connected via the DI input can be optimally levelled. The integrated 48 V phantom power can be activated via a switch on the front panel, as can an effective high-pass filter to eliminate impact noise. Finally, the intelligent amplifier circuit controls the feedback component within the tube stage and thus achieves a wide variety of sound characteristics and amplification levels. In this way, you can quickly and easily switch between different tube sounds, from restrained to direct and aggressive. This great and creative tool enables the "perfect" sound for every singer and every instrument.Opto-Compressor:The compressor section of the VOXBOX combines functions of the popular Manley Variable MU and the electro-optical ELOP limiter. The signal is compressed before the tube stage without any negative effect on distortion or frequency response, preventing overloading of the microphone preamplifier and eliminating the need for circuitry that would normally interrupt the signal flow of the microphone signal. In addition, Manley is the first manufacturer to use a sidechain with "parametric compression", whereby up to four different time constants are used simultaneously, which are controlled via simple controls for attack, release and threshold. The VOXBOX settings are based on the photoresistors of the fast ELOP limiter, the slightly slower LA-2A and the slower LA-3A as well as further fine-tuning by Manley. Overall, VOXBOX Compressor delivers refreshing new sounds that are perfect for drums, bass, vocals and other sources. The compressor is even recommended for processing an entire mix - the link function turns two VOXBOX units into an extremely flexible stereo device.Equaliser in Pultec style:The mid-range equaliser, which is based on the Pultec devices, has been significantly upgraded in the VOXBOX. It now offers three bands with a total of 33 frequencies, i.e. six new frequencies in the 20 - 150 Hz range and six in the 6.4 - 20 kHz range. With real chokes and a Class A circuit, the VOXBOX equaliser delivers a truly magical sound. The EQ input selector switch allows you to choose between line input, preamp output or insert return. The switch also functions as a bypass switch for the preamp or external effects units, allowing two audio signals to be processed.De-esser and limiter section:The de-esser and limiter section of the VOXBOX offers additional processing options. The peak limiter is based on the limiter circuit of the ELOP, but with an additional passive LC resonant circuit integrated as a de-esser. Four carefully selected notch frequencies are available to suppress problematic frequencies: 3 kHz, 6 kHz, 9 kHz and 12 kHz. In addition, there is a fifth switch position in which the signal is compressed before the EQ and fed to the limiter after the EQ, as with an LA-2A limiter.VU meter:The Manley VOXBOX is equipped with a large-format, illuminated Sifam VU meter. The associated 5-way switch can be used to select which level (line input, preamp output or main output) or value (compressor level reduction or de-esser/limiter function) is displayed.Innovative "extras":Manley has added a few clever "extras" to the VOXBOX that allow it to be used both on stage and in the studio. These additional functions include a switch-on delay, particularly comprehensive magnetic shielding, an intelligent earthing system and silent switching.

The Rupert Neve Designs Portico 511 is a microphone preamp module in API 500 format. It delivers original Neve sound and is equipped with typical Neve elements such as the transformer-balanced preamp and the variable Silk/Texture Control. Practical adjustment options such as the LoCut, which is infinitely variable from 20Hz to 250Hz, are the icing on the cake of this noble preamp, which refines every recording signal chain and gives the sound the necessary "mojo".

The patented Vitalizer circuit makes the Vitalizer Mk3-T an unrivalled sound shaper. Audio productions sound livelier, have more detail, more transparency, a higher perceived loudness and, if required, an overwhelming bass foundation.The Vitalizer Mk3-T not only swaps the classic, golden garb of its predecessor for the new, black design of the SPL Studio series - the higher internal audio voltage of +/-18 V raises the third generation of this SPL classic to a higher sound level and shines with even better and more detailed sound.

We have looked at many converter designs and asked ourselves why innovations take place almost exclusively on the digital level and only very rarely on the analogue side. Perhaps it is because most developers have their background in digital technology and therefore tend to develop analogue technology according to the 'cookbook'.We have 30 years of experience in analogue technology and we find cookbook designs rather boring, inefficient and in need of improvement.The output of the DAC IC (AK4490) is an analogue signal that needs to be filtered with a low-pass filter. This analogue circuit is typically operated with the same voltage as the DAC IC - for example 5V. Imagine that the first stage that finds the analogue signal has a dynamic range and signal-to-noise ratio limited by this voltage. What a bottleneck.In the Mercury, our 120V technology is used instead of the standard technology. And it does so twice in the newly developed DLP120 module. DLP stands for "Dual Low Pass". These are two separate analogue filters using 120V technology. Depending on the type of digital signal, the analogue signal passes through the PCM or DSD filter and can freely unfold into a huge dynamic range. This is audibly better.The DA converter (DAC) in the Mercury is the AK4490 Velvet Sound® converter chip from AKM. This offers a bit depth of 32 bits and a maximum sampling rate of 768 kHz for PCM digital signals and DSD4 or DSD256 for direct stream digital signals.

Premium preamps are undoubtedly an important prerequisite for outstanding recordings. The SSL ORIGIN console with its PureDrive mic preamps is a modern classic among recording consoles. Its innovative preamps retain the clarity and punch of earlier SSL designs, but add the "DRIVE" option for a warm, overtone-rich and punchy sound that varies with increasing gain. For example, you can capture the subtle nuances of a piano concerto in PURE mode or add warmth to a drum recording in DRIVE mode.The PURE DRIVE QUAD continues this tradition in rack format, offering four microphone preamps with the familiar PURE and DRIVE modes of the ORIGIN. However, SSL goes one step further and integrates a third, 'unbalanced' DRIVE mode as well as digital interfaces and a USB port. No electromechanical components (potentiometers, mechanical switches, relays, etc.) are used in the audio signal path of the PURE DRIVE QUAD, which increases durability and enables precise equalisation between all channels - not just one stereo pair. The use of digitally controlled analogue circuits, controlled by detented potentiometers and electronic switches, simplifies recall and precision of settings. This makes the PURE DRIVE QUAD one of the most powerful microphone preamps on the market with a multitude of new sonic possibilities and workflows, and the PURE DRIVE QUAD's numerous interfaces open up a wide range of recording options. The PURE DRIVE QUAD has eight rear-mounted XLR combo inputs, four front-panel Hi-Z/DI instrument inputs with automatic input detection and three D-sub connectors for line-level inputs and insert send return. The PURE DRIVE QUAD's insert returns/AD converter inputs operate at a line level of up to +24 dBu, so they can be easily connected to other professional equipment.The PURE DRIVE QUAD's versatile digital connectivity options include an integrated USB sound card that transmits four audio channels at up to 32-bit/192 kHz to your DAW. There are two AES/EBU output pairs and one ADAT output. The AES and ADAT outputs can even be used individually to be used by the integrated USB sound card as outputs from your DAW. Finally, there is a word clock input and output with automatic switching for reliable digital clocking.

The Bricasti Design Model 10 Remote Control is a remote control exclusively for the M7 stereo reverb processor. Like the M7, the high-quality housing is milled from solid, anodised aluminium.The M10 Remote is easy to use and is connected to the M7 via the standardised RS422 interface. All device-specific settings can be made via the remote control. With the M10, you can control up to eight Bricasti M7s from the comfort of your desk, so you don't have to leave the sweet spot when mixing.

With the Crescendo duo, we are expanding the SPL 120V technology microphone preamplifier portfolio with a two-channel version of the SPL Crescendo.Crescendo duo convinces with the same outstanding sound and technical characteristics as the flagship of the product range - Crescendo. It is almost impossible to overdrive this microphone preamplifier. It shines with absolute signal fidelity and clarity and makes microphones appear in a completely new light - because they have never been amplified like this before.Crescendo duo offers switchable +48V phantom power for condenser microphones, a high-pass filter to eliminate low-frequency noise, the option to reverse the polarity of the signal and a PAD to lower the input level. The two large VU meters visualise the output level of the amplified signal. The option of reducing the level displayed in the VU meter by 10dB means that the dynamics of high levels can also be reproduced excellently. A highlight of the Crescendo duo is the individual controllability of mic gain and output gain. This ensures that the microphone signal is optimally amplified without losing a single dB.The signal can be tapped at the rear via two parallel XLR outputs per channel. This means, for example, that two different recording systems can be used (back-up/haviour) or two different signal paths can be fed.The Crescendo duo is the perfect introduction to the SPL 120V technology microphone preamplifier world.The Crescendo duo is predestined for the most demanding stereo recordings, but is also ideal for single signals such as vocals. It is the ideal front-end for all professional recording studios.

The API 2500 is primarily a stereo bus or summing compressor that can be operated in both stereo and dual mono mode. Thanks to two different modes of operation, the 2500 is extremely flexible. The "Old" style offers the "Feedback Type" circuit found in many classic compressors, while "New" offers the compression characteristics of many modern VCA compressors. The patented "Thrust" circuit gives the bass plenty of punch and can be attenuated with a 2dB/octave high-pass filter or completely removed from the signal path with the bypass switch.

Expressive, powerful and versatile - the 535 diode bridge compressor revives the sound of the Rupert Neve 2254 compressor and also offers some modern innovations such as improved timing control, significantly lower inherent noise, gridded controls and a parallel compression control. Originally developed for the dynamics section of the excellent Shelford Channel, this decoupling for the proven 500 format is of course also equipped with the Rupert Neve Design custom transformers and Class A output transformers.Almost 50 years after the development of its first diode bridge compressor, Rupert Neve presents the rebirth of a powerful-sounding classic with the 535, which combines the classic circuit with contemporary precision and adaptability and makes a track really shine in the mix.The diode bridge:While VCA compressors such as the Portico 542 or the Master Buss processor are extremely neutral and low-distortion, it is precisely the rich and overtone-rich sound behaviour of diode bridge compressors that can make a decisive contribution to bringing vocals, electric guitars, bass and drums to the fore in a mix. Rupert Neve's first diode bridge compressor, the legendary 2254, served as the design inspiration for the 535. By meticulously analysing the limitations of the original 2254 topology, the ambitious goal of the further development was not only to reproduce the unique sound behaviour of the 2554, but also to improve the noise behaviour, increase the flexibility of the time constants, implement full sidechain detection (full wave) for an improved dynamic response and a larger control range for threshold and ratio as well as an expansion of the headroom of the diode bridge itself. With the powerful sound of the classic and the modern flexibility, the 535 is a dynamics tool that can enhance virtually any track.Timing is everything:The standardised TIMING control includes six selectable settings carefully crafted for different applications - a significant change from the fixed attack of the 2254. FAST and MF settings help tame signals with fast transients such as drums, plucked strings and fast vocals. MED and MS offer somewhat more subtle attack and release phases in which the transients are retained but then influence the signal more persistently. Finally, SLOW and AUTO are significantly slower and designed more for gentle level control.The switchable FAST mode increases the speed for attack and release again in each setting, so this function doubles the time constants from 6 to 12 presets. Compared to its predecessor, FAST mode therefore enables significantly greater tonal variety and a much wider range of functions.Fast TIMING settings generally result in greater ripple in the peak-to-peak control voltage, which excites more harmonics and thus brings more colouration to the audio signal path. Slower TIMING settings significantly smooth out the control voltage, so the intensity of the harmonic signal excitation remains significantly lower and the compression sounds more transparent. It should be noted that, due to the nature of the circuit topology, the time constants are always somewhat dependent on the selected Ratio and Threshold parameters as well as the actual audio material. This dynamically generated timing fluctuation and the harmonic sound component is what gives the diode bridge circuit its unique personality.The right mix:The built-in parallel compression option is particularly useful in connection with the inherently sound-colouring nature of the 535's diode bridge circuit. The BLEND control allows the user to add, for example, small amounts of extreme compression to the unprocessed signal portion to achieve a processed but still natural sound that retains the open dynamics as much as possible while still adding the desired tonal colouration and punch.Take control:In addition to the TIMING control, the diode bridge compressor offers further setting options via RATIO, THRESHOLD, GAIN, S/C HPF and LINK. RATIO provides six selectable compression ratios via a rotary switch, starting with a gentle ratio of 1.5:1 up to 8:1. The 31-stage THRESHOLD setting allows the user to set a level in the range from -25 dBu to +20 dBu, from which the compression kicks in. The GAIN control, also with 31 steps, regulates the catch-up gain of the applied audio signal in the range from -6 dB to +20 dB. The S/C HPF is a switchable high-pass filter for the sidechain signal path, which starts at 150 Hz with a slope of 12 dB / octave. This feature can be incredibly useful if you want to reduce the influence of the high-energy low-frequency signal components of a mix or instrument during compression, which would otherwise tend to result in a mashed sound. LINK can be used to activate the buss link of the 500 modules, as provided in numerous 500 racks (such as the Rupert Neve designs R6 or R10, see manual). If the two corresponding plug-in units are connected to each other via LINK, the control voltage is shared between the two units. This means that when one device is triggered, the second is triggered simultaneously. This is helpful to ensure stable centre localisation with a stereo signal. Note: with stereo sources, it is also useful to control the "unlinked" sound, as the link process can have an effect on the effective stereo width of the signal if the compressors are triggered from one side.

With the Auteur DT, Black Lion Audio presents the successful Auteur microphone preamp in a desktop version. The Auteur DT has been reduced to one channel, but retains all the sonic advantages of its big brother in the rack. Vocals and instruments can be supplied with the clear, warm Auteur amplification of up to 60 dB via XLR and line inputs. All important functions such as phantom power, 10 dB pad, phase reverse and Hi-Z switch for guitar and bass can be switched via buttons on the front. The Auteur DT is robustly built and offers genuine vintage charm thanks to the backlit VU meter in classic style.

If one device is emblematic of analogue SSL processing, then it is the legendary Bus Compressor. Since it was first introduced in 1976 in the SSL 4000B mixing console, it has refined the mixes of countless top productions worldwide.With the new BUS+, SSL introduces the ultimate and most flexible bus compressor ever. To meet the high demands of professional analogue audio performance, SSL uses high-quality parts and high-performance components such as the 2181 THAT VCAs.Based on the original circuitry, a device has been developed that not only offers different operating modes and extended tone colours, but also additional processing tools. Do you want your mix to be "clean and punchy" like the SuperAnaloge 9000 series? Or "gritty and grungy" like the 4000E? Do you need a little "over the top" parallel compression for the drums? What do you think of side chain signals with flexible HFP and a dynamic EQ? Or a transient expander?