New from Tube Tech - Rackmountable tube compresso, EQ & Mic Preamp.
The EM 1A is a passive tube equalizer designed to meet the exacting standards of even the most demanding sound engineers and producers.
The PM 1A is an exceptionally smooth sounding microphone preamplifier and direct instrument input amplifier, such as bass, guitar, keyboard etc.
Throughout the years and thousands of track recordings the CL 1B has proven its value by adding that sought-after vintage warmth and realism to the most demanding studio tracks. The TUBE-TECH CL 1B Compressor is an optical, all tube based compressor targeted at single-track studio recordings: It is equally suited for delicate vocal recordings as well as critical instrument recordings such as lead guitar, drum solos etc.The TUBE-TECH CL 1B Compressor features a gain-reduction element, positioned immediately after the input transformer. It is controlled by the sidechain amplifier, which also contain the two time control circuits? one for fixed and one for variable Attack/Release. The two time-controllers can either be used separately or combined. This circuit contains semiconductor OP-amps for the entire control. The gain-reduction element is followed by a tube-based push-pull amplifier with variable gain up to 30 dB. A dedicated Bus selector with three positions (Off, Bus 1, Bus 2) is used whenever you want to link several compressors together. Input and output transformers have a static-screen between the primary and secondary wirings. Both Input and Output are balanced as well as fully floating.
Product Features
Unique low distortion gain-reduction element
All tube-based push-pull amplifier
Multiple interconnection of several compressors via two busses
VU-meter for monitoring input, compression and output
Continuously variable attack and release time
Gain Range (off to +30 dB)
Variable Threshold (off to -40 dBu)
Frequency response @ -3 dB: 5 Hz to 25 kHz
Low noise: < -75 dBu @30 dB gain
Clickless bypass relay
The CL 2A Dual Compressor features two independent optical compressors. The optical gain reduction element is placed after the input transformer and then followed by an all tube-based output amplifier with a +10 dB gain. A switch with three positions (Link 1, Off, Link 2) is used whenever you want to use the two separate compressors in stereo mode or link several compressors together. The two link busses are identical.
Both Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the anode voltage for the output stage all DC voltages are stabilized.
Product Features
Optical gain reduction element
Linkable for stereo applications
Dual VU-meters showing output or compression
Variable attack and release with a 1,5:1 to 10:1
Output Gain (off to +10 dB)
Frequency response @ -3 dB: 5 Hz to 60 kHz
Low noise: < -80 dBu @10 dB gain
Conductive plastic potentiometers
Gold plated switches
Clickless bypass relay
The TUBE-TECH LCA 2B is a two-channel unit with an independent compressor and limiter per channel. The unit is all tube based (except for the power supply and side chain circuit). The VCA (1 dual triode) is placed between the input transformer and the output stage (2 dual triodes).
The audio signal is picked up after the VCA and fed to the side chain circuit. The control signal from the compressor and from the limiter is combined and sent to the link switch and to the control amp, which feeds the VCA. The two bi-directional link busses are accessible at two 1/4" stereo jack sockets on the rear panel. The channels can be linked together for stereo applications and also linked to other LCA 2B's via the two link busses and a standard stereo jack/jack cord.
The compressor has six att/rel presets as well as manual control. The limiter att/rel is fixed. The LED display is fed from the con-trol amp. The limiter LED is fed from the limiter buffer.The audio path is fully symmetrical from input to output. Input and output have fully floating transformers. All DC voltages are stabilized, ex-cept the anode voltage for the output stage.
Product Features
Compressor
Variable ratio from 1,6:1 to 20:1
Variable threshold: off to 10 dBu
Selection between six presets and manual controlled att/rel
Limiter
Variable threshold: off to 0 dBu
On/off switch
LED indication
General
Separate compressor and limiter
Frequency response @ -3 dB: 5 Hz to 50 Khz
Low noise: < -85 dBU @ 10 dB gain
Output gain control
Clickless bypass relay
LED display for gain reduction
The SMC 2B Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid & High) by 6 dB/octave x-over networks with variable frequencies: 60-1200 Hz for Low/Mid band and 1,2-6 kHz for the Mid/High band.
The design of the x-over networks optimizes the summing of all three bands, resulting in a flat frequency response (within +/-0,25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls.
Both Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the output stage all DC voltages are stabilised.
Product Features
The world’s only “all tube based” multiband compressor design
Three bands per channel with variable crossover frequencies between bands
Stereo sidechain with variable Threshold, Ratio, Attack, Release and Gain controls for all three bands
Master Output Gain (off to +10 dB)
Balance Control (+/-1,5 dB)
LED display showing compression
Freq. response @ -3 dB: 5 Hz to 60 kHz
Low noise: < -60 dBu @10 dB gain
Conductive plastic potentiometers
Clickless bypass relay
The SMC 2BM Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid & High) by 6 dB/octave x-over networks with 12 selectable frequencies: 60 – 1200 Hz for Low/Mid band and 6 selectable frequencies: 1,2 – 6,0 kHz for the Mid/High band.
The design of the x-over networks optimizes the summing of all three bands, resulting in a flat frequency response (within +/-0,25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls.
Both Input and Output are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuit is based on a solid state circuit. With the exception of the output stage all DC voltages are stabilised.
Product Features
The world’s only “all tube based” multiband compressor design
Three bands per channel with variable crossover frequencies between bands
Stereo sidechain with variable Threshold, Ratio, Attack, Release and Gain controls for all three bands
Master Output Gain (off to +10 dB)
Balance Control (+/-1,5 dB)
LED display showing compression
Freq. response @ -3 dB: 5 Hz to 60 kHz
Low noise: < -60 dBu @10 dB gain
Potentiometers with 31 detents for Threshold, Ratio, Attach, Release and Balance
Gain controls with 12 positions gold plated switches
Frequency switches with 6 positions gold plated switches
Clickless bypass relay
The SSA 2A is the sound solution to the bottleneck problems arising when down-mixing digital recordings on DAW’s. Our new 4+16->2 channel down-mixing unit directly targets the critical mastering process: Sonically it easily outperforms the quality of digital audio workstations and even betters the performance of mixing amplifiers built into the most high-end analogue consoles.
The TUBE-TECH SSA 2A Stereo Summing Amplifier features two very low noise / low distortion summing amplifiers with a very wide frequency response.
The inputs are transformer balanced and the circuits are symmetrical from input to output. The inputs are capable of handling extremely high input levels.
The Outputs are balanced and have fully floating transformers with a static screen. The power supply and the sidechain circuits are based on a solid-state circuit.
With the exception of the output stage all DC voltages are stabilised.
Product Features
8 stereo+4 mono inputs - 1 stereo output
23-step gold plated output gain control
Master Output Gain: -10 dB to +10 dB
Fully symmetrical circuitry from input to output
Zero field transformer balanced inputs.
Maximum input > +30 dBu
Low noise: < -90 dBu @ 8 inputs terminated
Two large VU meters showing output level
Frequency response 5 Hz – 100 kHz
Distortion < 0,05 %
The MMC 1A is our latest recording channel – encompassing a complete front-end it includes an additional Direct Instrument input as well as a separate line input. The microphone input has switchable loading impedance, phantom power, phase reversal and a –20 dB Pad. All inputs are equipped with a low-cut filter.
The 3-band optical compressor is designed to maintain optimum summing of all three bands with a remarkably flat frequency response. A bypass switch shorts out the whole compressor.
Mic. Input/Output are balanced and have fully floating transformers with a static screen. The Line Input is unbalanced, but an optional transformer is available.
The power supply and the sidechain circuits are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilised.
Product Features
Mic. Gain in 2 dB and 10 dB steps
Selectable mic. impedance 600/1200/2400
Phantom Power (+48V)
Phase reversal
20 dB pad
High impedance Direct Input
Separate line input (gain +/- 10 dB)
Lowcut filter (20 Hz / 40 Hz/off)
Optical gain reduction elements
Cont. variable Threshold, Attack, Release
Ratio 2:1 to 10:1
LED display showing gain reduction
Low, Mid, High Output Gain: off to +10 dB
Variable X-over frequencies
Low noise < -80 dBu @ 0 dB gain
Master Output Gain: off to +10 dB
The TUBE-TECH MP 1A is a combined dual Microphone Preamplifier and Direct Instrument amplifier for microphones or instruments.
The microphone inputs and outputs are balanced as well as fully floating. The inputs provide a switchable +48 V phantom power as well as a switchable -20 dB pad. Gain is adjustable in 5 dB increments from +20 dB to +70 dB.
The Direct Instrument Inputs are unbalanced with a gain ranging from + 10 dB to + 60 dB. The amplifiers are all tube based and the heaters are on a strict diet of DC-voltage only to avoid hum. All transformers, with the exception of the mains transformer, are enclosed in MU-metal cans. Input and output transformers come with a static screen between the primary and secondary wirings.
Product Features
Tube based push-pull output amplifier
Gain from +20 dB to +70 dB in 5 dB increments
Pad in front of input transformer (-20 dB)
Built-in +48 V phantom power
Microphone input impedance = 1,2 kohm
CMRR >60 dB @ 10kHz
Direct Instrument Jack-socket input for various instruments
DI input impedance > 1 Mohm
Frequency Response @ -3 dB: 15 Hz to 60 kHz
Typical noise figure: 5 dB @ 200 ohm
The TUBE-TECH EQ 1A is a full range one channel unit, featuring low & high cut, low & high shelving and three overlapping bands. The cut filters are designed around unity gain amplifiers and the shelving and the bell filters are designed around two tube operational amplifiers.
The unit is all tube based except for the power supply. Input and output have fully floating transformers. All DC voltages are stabilized, except the anode voltage for the output stage.
Optional Master Version available:
The EQ 1A Equalizer can be fitted with rotary switches instead of pots for even more precise settings. Please specify EQ1AM when ordering.
Product Features
Low cut at 6 frequencies: Slope 6 dB or 12 dB/octave
High cut at 6 frequencies: Slope 6 dB or 12 dB/octave
Band 1-3, bell type: 36 overlapping frequencies (12 per band), +/- 20 dB with variable bandwidth
Low shelving at 6 frequencies: +/- 15 dB
High shelving at 6 frequencies: +/- 15 dB
All switches gold plated
Conductive plastic potentiometers
Frequency response: 5 Hz to 60 kHz
Very low noise: < -85 dBU
Master bypass with clickless relay
All 7 sections fitted with separate in/out switch
The TUBE-TECH ME 1B Midrange Equalizer contains a low frequency boost section for peaking, a mid frequency attenuation for dipping as well as a high frequency boost section for peaking. The filter section is of the the passive type followed by a tube based push-pull amplifier to restore the gain.
Input and output are balanced as well as fully floating.
Input and output transformers come with a static screen between the primary and secondary wirings.
Product Features
Passive equalizer
Tube based push-pull amplifier
5 low frequency peaks: 0.2, 0.3, 0.5, 0.7 and 1 kHz (0 to +10 dB)
11 mid frequency peaks: 0.2, 0.3, 0.5, 0.7, 1, 1.5, 2, 3, 4, 5 and 7 kHz (0 to -10 dB)
5 high frequency peaks: 1.5, 2, 3, 4, 5 kHz (0 to +8 dB)
Frequency response @ -3 dB: 5 Hz to 40 kHz
Low noise: < -80 dB @ -10 dB gain
No insertion loss
Clickless In/Out switch
The TUBE-TECH PE 1C Program Equalizer contains a low frequency boost and attenuation section (shelving), and a high frequency boost section (peaking). The high frequency section has variable bandwidth as well as attenuation (shelving). The filter section is of the the passive type followed by a tube based push-pull amplifier to restore the gain.
Input and output are balanced as well as fully floating. Input and output transformers come with a static screen between the primary and secondary wirings.
Product Features
Passive equalizer
Tube based push-pull amplifier
4 low frequency boosts: 20, 30, 60 and 100 Hz (0 to +14 dB)
4 low frequency attenuations: 20, 30, 60 and 100 Hz (0 to -18 dB)
10 high frequency boosts with variable bandwidth: 1, 1.5, 2, 3, 4, 5, 8, 10, 12 and 16 kHz (0 to +18 dB with sharp bandwidth sharp, 0 to +10 dB with broad bandwidth)
3 high frequency attenuations: 5, 10 and 20 kHz (0 to +18 dB)
Frequency response @ -3 dB: 5 Hz to 40 kHz
Low noise: < -85 dB @ -10 dB gain
No insertion loss
Clickless In/Out switch
Who uses TubeTech Gear.
Lou Ferguson in Alberta Canada
I have to admit that the cost of the CL-1B was a scary venture for my demo studio. I had heard so much about how this makes magic things happen to vocal tracks.. When I first put it in the rack and fired it up on an old track straight out of my DAW... it was magic alright. Now I even use it for tracking as a great way to control my dynamics and even for monitoring purposes only to better my performance. Any mic behaves with this gem.
Songwriting demos need a good vocal up front and articulate, without being overpowering...It is worth the money folks....It is magical.
"There's simply nothing better than Tube Tech limiters. The CL1B is the best choice for voices or guitars."
Casey Moman.
".......I use the Tubetech SMC2B on the mix buss on many occasions. I've used it on tracks for Rufus Wainright, Beck ,The All American Rejects, The Offspring. I love being able to have separate compression control over three bands. Often many stereo buss compressors will squish and darken the midrange of a track. In a rock track this takes the attack and impact out of the guitars and drums . Having the separate control over all parameters I can set my attack time to be the mildest on the electric guitar range. Being able to control the frequency range in the low end works well on tracks that are very dance oriented. I can adjust the crossover point and make sure the low end never gets to overcompressed and soft...... " Joe Chiccarelli
I love my Tube Tech SMC2B and use it all the time. Al Schmitt
I've been recording and mixing music here in beautiful "A" town for 25 years now. I've done all kinds of music, and even some post production film soundtrack stuff. I've seen a lot of changes in equipment and technology. I have always tried to limit my audio purchases to items that would stand the test of time, as opposed to just buying whatever is newest and coolest. The tube-tech CL-1 compressor is one of the best examples of that philosophy. I have had my 2 CL-1B's since 1998, and I have used them virtually every day since then. They are a very important part of the day to day operations of my studio. I have used them on everthing from acoustic instruments to vocals, and even as 2 mix compressors from time to time. I can't imagine doing a session without them.
Fred Remmert
Cedar Creek Recording, Austin Texas
"We have two of the Tube-Tech CL1B's here and use them in nearly every session. They are unbeatable on Vocals. I also love them on Acoustic Guitar and Piano. "
- Colin Heldt • Dark Horse Recording Franklin, TN
I purchased a Tube-Tech MEC 1A for my record company within the last 8 months. It has worked out exceedingly well in the productions we have accomplished.
Martin
FIRELIGHT 14 RECORDS LLC
The CL1B is some of the biggest, warmest and most stylish available. For vocals, bass and rooms you'd be hard pressed to find anything that can give your tracks more size and character.
Evan Frankfort
WOULD WORK SOUND
a full-spectrum audio facility
I mainly use the CL-1B after the Neve mic pre on all vocals. But I have gotten some amazing sounds using it on Acoustic and Electric guitars. It provides a warmth to the track that you don't normally get if you go straight in to Pro Tools. It also helps add a puchiness to the vocal that helps it stand out in the mix. When tracking vocals I set the ratio to 2:1 and the threshold to around -5 or so depending on the singer and the dynamics of the part. I also find that running through the CL-1B and not even using the compression still makes a difference in the track that I am recording.
I use a Digidesign 192HD for my A to D converters and record to a Pro Tools HD 3 system.
Thanks Tube-Tech for making such a great compressor.
Mark Jean
Owner/Operator: Runaway Sound Studio
www.runawaysound.com
I love the CL 2A that we have in our studio. I have used it on
vocals,keys, Bass, Drum OH. Lot's of sources.
It sounds amazing.
-
Collin Dupuis
Engineer for Carl Craig , Studio : My House Of Trouble
Just wanted to share some of my thoughts about the CL-1B...
An opto compressor is an essential part of a complete outboard breakfast. Like Yin and Yang, It complements the other all-important FET or VCA-type compressors. The tube amplifier sounds very nice - it's clean and musical, and having control of the envelope and ratio make the CL1B a best choice for an opto compressor. I use it when tracking or transferring from tape to DAW on vocals, bass, kick drum, Moog and Fender Rhodes. I had one singer notice, within the context of the whole mix, when I didn't use it on a transfer from tape - "What happened to the lead vocal? Why does it sound different - kinda edgy and digital!?" I'll often use it simultaneously with a FET compressor when tracking voice-over to DAW, which keeps the dynamics in check and the tone very full.
Kurt Festge
Alloy Sound, Inc.
Chicago, Il
www.alloysound.com
Tube-Tech Service and Calibration:
Warranty and non warranty
Brian Thompson,
T&R Electronics
12544 Sisar Rd
Ojai, CA 93023
(805) 933 9119
Tubetechservice@aol.com
T&R Electronics has been appointed by John Petersen, owner of Lydkraft, Denmark, and Chris Walsh, Distributor for the U.S, as the official service center for warranty and non- warranty service for Tube-Tech units in the United States.
T&R is run by Brian Thompson who has been servicing Tube-Tech for many years.
If your unit requires service, E-Mail Brian at: Tubetechservice@aol.com
You will be issued an RA number in return, as well as all necessary information.
Here are a few tips from Brian, to get the Best from your Tube-Tech unit:
Tube-Tech units: Care and feeding.
"Is it best to leave my unit powered "on" all the time?" like my computers?
No. These units really only need a couple of minutes to be ready and calibrated after they have been switched on. They should be turned off, at least at night, or when not in use.
It will not add anything to leave them running hot at all times, and will certainly have a much more pronounced aging effect on the components, and especially the tubes.
But I know a lot of studios and broadcast stations that need to run them all the time. They usually send them in for re-tubing/calibration every year.
"I have a lot of tube gear in my racks. What about additional cooling?" It is always a good idea. A silent fan system will help move the hot air out of the rack. Keep in mind that the air comes in and out only from the sides on Tube-Tech units, so some thoughts will have to go into the air flow
circuit.
"How useful will an AC protector be?"
Not necessary, unless your AC is running above 125 Volts. In this case, a Variac would be recommended.
"How accurate will the calibration remain, over time?"
It mostly depends on how long the unit will be "on" over the years. If, for example, the unit is being used for about 10 hours a week, one can expect the calibration and performance to be perfect for a couple of years. It is likely that the tubes will then allow for some "drift" that will be hard to notice at first, but will become more obvious as months go by.
Also, some circuits like the VCAs in the LCA2 B, and the stereo tracking in the SMC2 B may need more periodical calibration.
"Can I re-tube my unit myself?"
Yes, but your unit will be off calibration. You will probably be close with the MP1A, or the EQ1A, but the LCA2 B will likely be un-useable without specific calibration.
"What are the best tubes to use with my Tube-Tech?"
"NOS" Philips or RCA, and some recent productions like "Electro-Harmonix" tubes give a good account of themselves, but they all need to be tested and selected to be within tolerance for use with Tube-Tech units. T&R can provide those tubes, except for the LCA2B that are matched to the unit
during the calibration process.
"My unit is dead. Can I check the fuses, inside, and replace a bad one?"
Not a good idea. If a fuse is gone, inside, it is likely that another component failed and blowing another fuse is only going to worsen the problem. Also, it is hazardous to put your hands in a unit that will retain hi-voltage for several minutes after it has been completely disconnected.
"How long will my Tube-Tech unit last?"
Several decades, if well taken care of. These are exceptional pieces, with amazing sonic capabilities. They deserve to be around for a very long time.