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NEW Series 20 QSP-20 - 4 Channel Mic Preamp We wanted to build a new mic preamplifier that exhibited the qualities of our Class A range but at reduced price to the end user. By packing four preamps into one chassis with one power supply, the per channel cost is significantly reduced. But you won't find any cut corners here, each channel uses two of our Class A amplifiers at the input and a Lundahl* audio transformer at the output. The excellent sound produced by this combination has been well proven in our 500 Series products. If the QSP-20 is the only preamp you may own, we guarantee it will sound great - no matter what you throw at it. | Buzz Audio QSP-20
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NEW Series 20 SOC-20 - Stereo Optical (Series 20) Compressor Due to popular demand we announce the Series 20 SOC, a Class A version of our well known SOC-1.1 compressor. The SOC-20 includes additional features suggested by our users including a fully balanced XLR side chain insert point, extra ratio and attack settings and a sidechain high pass filter (for less low frequency compression when used on the mix buss). At the flick of a switch, the SOC-20 converts to a MS (Mid Side) compressor allowing you to compress and/or re-balance the sum and difference signals of a stereo mix. The side chain monitor function allows you to hear the MS signals and the side chain insert send can be used as a MS encoder output. Very very cool!
The SOC-20 is scheduled for shipping August/September 2011.
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Buzz Audio SOC-20
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NEW Series 20 DPE-20 - Dual Parametric Equalizer The DPE-20 replaces our discontinued MPE-1.1 mono parametric equaliser with improved all Class A circuitry and extra features. The four EQ bands plus the high and low pass filters offer you extreme flexibility for tracking and mixing operations. The high and low shelving bands each have four selectable turnover frequencies with the low shelf generated by a real choke (inductor). The low and high bell bands offer continuous control of frequency and bandwidth allowing you to pin point and control any frequency in the audio band without the restriction of fixed frequencies. Individual in/out switches allow you to easily compare the flat or equalized material. The gain switch allows you to pad the input 10dB for those sometimes high level signals from DAW's or add 6dB boost for low level inputs.
The DPE-20 release is TBA.
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Buzz Audio DPE-20
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Buzz Audio REQ2.2
Buzz Audio REQ2.2
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The REQ is not a fully passive equalizer as such - each band has an amplifier associated with it and this approach ensure there is no interaction between bands. Parallel resonant chokes and capacitors form the frequency selective part of each band and these are coupled into the amplifier stage via the boost/cut control. In order to keep the signal path as short as possible, each band includes an in/out switch completely removing it from the chain if not required.
Many other equalizers using passive filters have limited centre frequency choices, but the REQ boasts 72 different frequencies split over four bands per channel. The high and low bands can be switched to bell or shelving mode and the two bell mid bands have two centre frequency ranges. Each band has a bandwidth (Q) control and if the high or low bands are switched shelf mode, this control reverts to a shelf "slope" control. In addition a passive high pass filter and a variable "saturation" module are provided. The saturation module converts the REQ into a more "vintage" sounding unit by adding harmonics to the signal via the use of a steel audio transformer driven by a "single ended" old style Class A amplifier. The REQ is available in two versions, a recording version with +/-15dB continuously variable boost/cut and a precision mastering version with 23 position stepped +/-8dB boost/cut with 0.5 and 1dB steps. All other controls on both versions are switched for repeatability. The high pass filter of the mastering version offers smaller steps and varying filter slopes to that on the recording version, (see the frequency chart for details). Taking a look inside the REQ chassis you will discover a vey high level of engineering and build quality with single point power supply wiring, discrete power regulators for each band, reliable ITT rotary switches and Alps rotary boost/cut pots (or Elma stepped attenuators in the Mastering version) - the list goes on and on. Click on the images on the left to see inside the Resonance Equalizer and discover for yourself why this product is truly unique! |
Buzz Audio ARC Channel Strip
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The ARC1.1 is a outboard channel strip combining a mic/line preamp, equaliser, compressor and limiter in one box. It has primarily been designed for recording and processing the human voice and sports a host of features that have been inspired by suggestions from audio professionals from around the globe. The ARC includes tried and trusted elements from other Buzz Audio products plus some new innovations specifically developed for this unit. Whilst aimed at vocal recording and processing, the ARC is a useful tool for all sorts of recording and mixing applications. With all the connection and routing options available, the ARC may be used as a seperate Mic Preamp, DI Box, Equaliser and Compressor/Limiter (optionally with sidechain EQ), all at the same time.
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MA 2.2 Class A Stereo Mic preamp
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The MA-2.2 provides ultra clean and very musical amplification of all microphone signals. It is considered by many to be an excellent choice for recording acoustic guitar and has been designed with this application in mind. The MA-2.2 is extremely musical in character and will deliver transperant reproduction of any acoustic source including voice, drums, percussion, piano and strings. |
SOC 1.1 Stereo Opto Compressor
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It is generally well known that optical compressors are an excellent choice for compression on low frequency sounds, and the SOC-1.1 is a great example. This piece is an excellent choice for tracking bass guitar, but will also find application on vocals and other general compression tasks.
A common problem with older opto compressor designs (and many modern ones!) is the inherent slow attack time of the LDR elements, which can cause sibilance problems and audible "pumping" effects. A special "speed up" circuit within the side chain section of the SOC-1.1 effectively reduces the attack time to less than 1mS (in fast attack mode). We believe this is the fastest attack time of any LDR based compressor on the market today and makes it suitable for stereo mixdown (2 buss) compression tasks. All the features available on the SOC-1.1 allows users to create many different flavours of compression, from full on squash to just gentle levelling. A very useful piece of kit destined to become a classic. |
The A-Rack 8+1 Modular Recording System and
The MA-1.5 Modular Preamps
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The first module available for the A-RACK 8+1 is the MA-1.5 True Class A Microphone Amplifier. All circuitry is real Class A discrete transistor using the Buzz Audio BE40 module. There are no transformers in the signal path, high quality film coupling capacitors are used for DC isolation. The circuitry is very similar to the MA-2.2 with the addition of the Solo feature and a Direct Drive Balanced Output circuit (the DDBO).
There are two main advantages to the DDBO over conventional "transformer acting" electronic balanced outputs. The first is near perfect common mode performance on balanced lines ensuring accurate audio signal transmission over long cables as may be found in remote live recording situations. The second advantage is an increase of output headroom by 6dB allowing the MA-1.5 to deliver a staggering +32dBu before the onset of clipping. The only disadvantage of the DDBO is that when driving an unbalanced load, one of the output amplifiers will be shorted to ground, which is not desirable. To enable the MA-1.5 to work with unbalanced loads, the MODE switch converts the output to a pin 2 hot unbalanced output, which also results in 6dB less gain. The MA-1.5 provides real "straight wire with gain" performance in a modular format, and modules can be purchased as budget permits, perfect for all multi channel recording situations. |
MIA-1.0
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The MIA-1.0 Musical Instrument Adaptor (traditionally called a Direct Box) was initially designed to compliment the MA-2.2 Microphone Amplifier, converting unbalanced instrument inputs into a balanced mic level signals. This is achieved with a simple FET input, balanced output Buffer amplifier. There are no transformers in the audio path, ground isolation is achieved by the use of a transformer in the hi-frequency power supply that converts the phantom power to the nominal 12V operating voltage. Very nifty !!
The MIA-1.0 can of course be used with any mic preamp equipped with +48V phantom power (8mA). Users can expect smoother bass performance and excellent treble reproduction without the phase shift anomalies inherent in standard transformer coupled designs. |
Buzz Audio 500 Series |
The Potion
True Class A FET Compressor |
The Elixir
Our Price: $755.00 |
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APA Revolver Rack
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API (tm) 6b Lunchbox
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