| Content | 100% Tube to 100% Solid State — a Variable Tone Blending Mic Preamp & DI
The award-winning 710 Twin-Finity™ is a radically new UA mic preamp design that combines both the classic retro warmth of tubes with the transient bite of solid-state, all in a 2U, half-rack unit. The 710 was created specifically to add the tonal versatility and sonic inspiration missing from generic audio interface preamps. Tone blending is continually variable between 100% tube and 100% solid-state, offering a practically infinite range of unique preamp tones, plus the ability to easily dial-in your own signature sound. There are lots of sensibly priced solid-state and tube preamplifiers out there, but the 710 is the only one that offers the best of both worlds — as well as everything in-between — all in one box, and within reach of any serious project studio’s budget.
- Twin-Finity™ Tone-Blending Mic/Line Preamp & Hi-Z Instrument DI
- Dual-Path 310 volt Class-A Tube and Transimpedance Solid State Preamp
- Phase-Aligned "Tone-Blending" of Tube and Solid State sounds
- Dual Gain Stages: Wire with Gain to Creamy to Crunchy
- Discrete JFET DI with 2.2M ohm Ultra Hi-Z impedance
The key to its sonic flexibility lies in its innovative circuit design, featuring a solid-state transimpedance input amp simultaneously driving separate, phase-aligned tube and solid-state gain stages, which are then summed to a single output.. The mix between the 310 volt single-ended class-A triode tube stage and solid-state transimpedance stage is controlled via the "Blend Knob" labeled "∞". Blending is continually variable between 100% tube and 100% solid-state offering a practically infinite range of unique pre-amp tones and the ability to easily dial-in your own signature sound.
Like all our other preamp designs, the 710 features dual gain-stage controls (Gain/Level) which can radically vary the amount of coloration and distortion by allowing you to crank up the input gain like a guitar amp. The VU meter features a unique "Drive" mode allowing you to see how hard you are driving the input stage.
Versatility makes the 710 the perfect preamp partner for any mic collection. Plus, the discrete JFET DI input circuit can also easily handle any electric instrument. Guitar and bass players will especially appreciate the 710s ability to bring out the best of both active and passive pickups. The 710 Twin-Finity includes a 19" rack-kit for mounting one or two units.
- Inputs: Microphone (Female XLR), Balanced Line (Female XLR) , Unbalanced Instrument (1/4" jack) (D.I.)
- Outputs: Balanced Line (Male XLR)
- Type: Tube & Solid-State Phase-Aligned Tone-Blending Mic Pre & DI
- Tube Complement: 12ax7
- Pad: -15dB
- High Pass Filter: 75Hz
- Maximum Power Consumption: 160mA @120VAC 20W
- Power Requirements: 100-240VAC
- Mic Input Impedance:2K ohms
- Line Input Impedance: 10K ohms
- Hi-Z Input Impedance: 2.2M ohms
- Internal Output Impedance: 600 ohms
- Dimensions: 8.45" W x 3.5" H x 10.25" D
- Weight: 5.25 lb
| This item is in excellent working condition and barely used.
The ZHA-4 splits a single stereo headphone output into four separate powered 1/8” headphone jacks, each with their own volume and mute control. Perfect for bands, podcasts, productions, and more.
Two AA batteries provide hours of portable power. For longer sessions, connect the USB-C port to a portable battery or plug directly into the wall.
What’s in the Box?
- ZHA-4 Handy Headphone Amplifier
- AA Batteries (x2)
- Stereo Mini Audio Cable (19” / 50cm)
- Quick Guide
Please Note: The item displayed in the images may not be the actual item you receive. | Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities.
What is diode bridge compression?
Where the VCA compressor found in the Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix.
By understanding the limitations of vintage units like the legendary 2254, painstaking effort was taken to reproduce the unique tone of these classics while improving the noise floor & accuracy, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, and widening the range of threshold and ratio controls.
Delivering the powerful sound of these iconic designs with enhanced flexibility for the modern age, the 535 Diode Bridge Compressor is a dynamic tool equipped to make a bold statement on virtually any mix or track.
LINE INPUT TO LINE OUTPUT
- Compressor Bypassed.
- Z source = 40 Ohm Balanced
INPUT IMPEDANCE
10K Ohm
OUTPUT IMPEDANCE
40 Ohm
MAXIMUM INPUT LEVEL
+23.5 dBu
MAXIMUM OUTPUT LEVEL
+23.5 dBu
NOISE
- 22 Hz - 22 kHz BW.
- -101 dBu
FREQUENCY RESPONSE
- 10 Hz - 120 kHz, 30ft Output XLR Cable.
- +/- 0.25 dB
THD+N
- @ 1 kHz @ Maximum Output Level, 22 Hz - 22 kHz BW.
- 0.001%
| FEATURES
- 12-way precision rotary switch controls gain from 0 to 66 dB in 6 dB steps
- Continuously variable +/-6 dB level control
- Silk circuit, reduces negative feedback, adding harmonic content as needed
- Red Silk accentuates the saturation in the mid and high frequencies
- Same presence and sweetness found in standard Portico Series modules
|
Number of Channels |
Single |
|
Inputs |
1x XLR, balanced |
|
Output |
1x XLR, transformer-balanced |
|
Maximum Output Level |
+23dBu |
|
Meter |
8 segment LED meter |
|
Power Requirements |
Power Requirements @ +/-16VDC 100mA |
|
Dimensions |
Not specified by manufacturer |
|
Box Dimensions (LxWxH) |
10.2 x 7.8 x 2" |
| FEATURES
- The industry-standard tabletop looper, updated and enhanced
- Class-leading sound quality with 32-bit AD/DA and 32-bit floating-point processing
- Five simultaneous stereo phrase tracks with dedicated controls and independent volume faders
- Input FX and Track FX sections, each with four simultaneous effects and four quick-access banks
- Customizable FX and Track buttons for each phrase track
- Massive onboard effects selection with 49 Input FX types and 53 Track FX types, including new Harmony, Electric FX and many others
- Ultra-durable faders with longer throw for more precise adjustment
- Mark Back function provides enhanced undo/redo flexibility while performing
- Two XLR mic inputs with phantom power, two stereo line input pairs, and three stereo line output pairs
- 99 memories, each containing five phrase tracks, custom effects and playback settings, control assignments and more
- Synchronize your loops with over 200 onboard rhythm patterns and 16 drum kits
- Deep MIDI control support
- Two external control jacks, each with support for up to two footswitches or an expression pedal
- USB for data backup, phrase import/export with BOSS Tone Studio and pattern import with the RC Rhythm Converter
TECHNICAL SPECIFICATION
Boss RC-505MK2 Tabletop Loop Station
- Sampling Frequency: 44.1 kHz
- AD/DA Conversion: 32 bits
- Processing: 32-bit floating point
RECORDING/PLAYBACK
- Number of Tracks: 5
- Data Format: WAV (44.1 kHz, 32-bit float, stereo)
- Maximum Recording Time: Approx. 1.5 hours (1 track), Approx.13 hours (total of All memories)
- Rhythm Type: 200 types or greater
- Rhythm Kit: 16 types
EFFECTS
- INPUT FX: 49 types
- TRACK FX: 53 types
- MASTER FX: 2 types
- Memory: 99
- Display: Graphic LCD (128 x 64 dots, backlit LCD)
CONNECTORS
- MIC IN 1, 2 jack: XLR type (balanced, phantom power: DC 48 V, 10 mA Max
- INST IN 1, 2 jacks, MAIN OUT jacks, SUB OUT 1, 2 jacks: 1/4-inch phone type
- PHONES jack: Stereo 1/4-inch phone type
- CTL1,2/EXP1 jack, CTL3,4/EXP2 jack: 1/4-inch TRS phone type
- USB port: USB B type
- MIDI (IN, OUT) connectors
- DC IN jack
- Power Supply: AC adaptor
CURRENT DRAW
- 1.0 A (with phantom power)
- 0.9 A (without phantom power)
- Dimensions: 16-9/16" W x 9-1/4" D x 2-11/16" H
- Weight: 4 lb.
| As with ELI’s other signal processors, the Lil FrEQ Equalizer takes a somewhat unique approach to its job. Instead of daisy chaining several equalizers and frequency processors, we combined most of the sound sculpting tools an engineer needs into a compact single rack space box, while still offering the highest performance of any design in its class.
Eight Sections of Processing
There are eight sections of processing – what other EQ offers that? Even better – in addition to a master bypass, each of the Lil FrEQ’s sections features its own dedicated bypass switch, letting you instantly A/B the effect of each section as you adjust and fine-tune them.
HIGH PASS – The High Pass section is a really easy to use sharp filter that cuts all content below one of eight preset frequencies from 30-330 Hz. This filter is very steep and has a special shape that prevents frequencies from thinning out just above the cutoff point. The corner frequency is selected using up/down buttons, and indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged.
HIGH & LOW SHELVING – These two knobs function similarly to the familiar “bass and treble” tone controls found on many consumer audio playback systems; however, these are designed to a much higher performance standard, providing exceptionally smooth and musical boost and cut on the high and low frequencies.
PARAMETRIC EQ – The Lil FrEQ has four sections of fully parametric EQ (LF, Lo Mid, Hi Mid and HF), with each section featuring individual gain, bandwidth (Q) and frequency controls. It may be the cleanest parametric EQ section ever produced, operating below .0007% THD (Total Harmonic Distortion) even at extremely high audio levels. Try finding those specs anywhere else!
DS (DYNAMIC EQ) – The DS section provides the highest performance, easiest to use, and possibly most natural sounding “De-esser” ever built. This powerful tool combines tunable filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants or other sharp transients, especially in the absence of other lower frequency content. It can also function as a one of a kind soft knee High Frequency limiter, which is one of the main things responsible for the Lil FrEQ becoming the go-to vocal EQ for engineers everywhere. It has been used on many acclaimed albums and major live performances all over the world, becoming the “go to” EQ for key tracks like lead vocals, snares, and bass. There are now dozens of hit record vocals that were processed thru the Lil FrEQ.
Frequency Response: 5 Hz to 140 kHz on transformerless inputs and outputs. Transformer output 10Hz to 110 kHz.
Dynamic Range: 120 dB from maximum output (.1% clipping) to minimum output. Greater than 110 dB signal to noise.
Distortion: Ranges between .00056% and .005% depending on mode and settings. DS section has THD < .005%.
I/O: DC coupled inputs and outputs and one transformer coupled output.
Dynamic Time Constraints: Attack is approximately .5 ms. Release .04 sec fixed internally.
Power Consumption: 15 Watts Max.
Metal Chassis: single height 1.75″ high, 10″ deep, 19″ wide. |
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