TC Electronic was founded in 1976 by the Rishøj brothers to build products for musicians and recording studios. The brothers were musicians and they designed products for musicians. This led to features like a built-in preamplifier so a guitar, bass or keyboard could be plugged straight into the equaliser

TC studio gear was a well-kept secret in the UK till the success of the 2290 Delay Line and the Finalizer, both products that had a big impact in studios. Among the “sleeper” products in their back catalogue are parametric equaliser footpedals, chorus & pitch-shifter units and rackmount equalisers like the 1140

The TC 1140 is a mono rackmount equaliser with a built-in preamplifier with up to 20 dB gain. The unbalanced input impedance is set deliberately high, so there’s no loss of high-end when direct-injecting guitars & basses, or synths & other keyboards. It also has a balanced input on an XLR connector

The 1140 preamp has Input Gain (+/- 20 dB), Output (0-6) and a peak-reading LED meter. Unusually, it has an EQ Match gain control to allow gain matching between the flat & EQ’d signals and to help with gain staging. The eq section has a non-latching in / out toggle switch and an external bypass footswitch socket on the back panel. EQ status (in / out) is indicated by different levels of brightness of the power on LED

The EQ section has sweepable EQ bands in the typical TC fashion with Center (frequency), Bandwidth (Q) and Function (boost / cut) controls. The four bands cover 20 Hz – 2 kHz, 50 Hz – 5 kHz, 100 Hz – 10 kHz and 200 Hz – 20 kHz so there’s plenty of overlap. Each band has its own Overload LED making it easy to spot overloads caused by large amounts of boost

Most studio equalisers assume a nominal signal level of +4 dBm and have no gain controls. TC goes to the other extreme – the 1140 assumes input levels may vary by up to 40 dB, that boost and or cut may change signal level significantly and that any EQ band might be pushed into overload – a fair assumption when 20db of boost or cut are available. This makes the 1140 ideal for live situations, for instruments with widely varying output levels, or for situations where large amounts of EQ may be required

Like the TC 1220, the TC 1140 is a highly effective equaliser. It’s possible to dial in large amounts of boost or cut but the results are always musical. On the broadest settings the EQ gives a warm, wide boost ideal for brightening signals or putting punch into the low end without making it sound flabby. At higher Q settings you can put a nice snap on a snare drum or make surgical cuts at problem frequencies

TC equalisers are amongst the few EQs I really like. They’re precise but musical at the same time – a combination that seems to escape most other manufacturers

“There are not a lot of 1140’s left on the market today, but should you be able to get a hold of one, don’t let it go. Even if you don’t have a use for it, don’t throw it out. You’ll regret it later on”

“The TC 2240 is one of my absolute favorite all purpose parametric EQ’s next to the GML 8200”

In prep now. Photos to follow

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Supplied with a newly-made set of XLR pigtails neatly anchored to the back panel

Photos to follow

Bob Orban is one of the unsung heroes of recording & broadcasting. For more than forty years his products have been in use in studios around the world and the company is still active and developing new gear

Orban is not as well-known in the UK as in the USA but, in the 80s and 90s, plenty of UK studios had an Orban De-esser, compressor or – if they were lucky – an equaliser. They’re not flashy or high-tech, but they’re flexible, accurate & sound great. They definitely have mojo!

Orban products were aimed primarily at the broadcast industry but found favour in recording studios. The things they bring from the broadcast environment – great build quality, modular construction and attention to detail – make them ideal in a studio environment

The Orban 622B equaliser is a two-channel device in a compact, heavy 2U box. It’s a four-band parametric equaliser with bypass switch, input gain trim, overload LED and EQ controls for each channel. Each band has frequency, Q & boost / cut controls plus an in / out switch so individual bands can be switched in or out for comparison purposes. There’s plenty of overlap between bands so it’s a very flexible EQ

Channel A controls (repeat for channel B)

• Input attenuator
• Peak LED
• Channel bypass switch
• Band 1 bypass switch
• Band 1 frequency control
• Band 1 Q control
• Band 1 boost & cut control
• Band 2 bypass switch
• Band 2 frequency control
• Band 2 Q control
• Band 2 boost & cut control
• Band 3 bypass switch
• Band 3 frequency control
• Band 3 Q control
• Band 3 boost & cut control
• Band 4 bypass switch
• Band 4 frequency control
• Band 4 Q control
• Band 4 boost & cut control

Sonically, the 622 is warm, like an old console channel equaliser, but with more flexibility. It reminds me of the very wonderful Klein & Hummel UE400 mastering EQ – both are fully parametric equalisers and both have in / out switches for each band – but the K & H is bland next to the Orban. The K & H is super-clean, as you’d expect from a mastering EQ, whereas the 622B has more character and a ton more mojo

Many describe the 622 as “The Poor Man’s GML 8200”. Turn it around, and call the GML the rich man’s 622B, and I think you have a fairer description

A few quotes from Gearslutz:

“Not really clean, they are more of a fun coloured beast. In a tracking or recording situation they can be great”

“They are full of character. These guys were designed for broadcasting, that’s where I first used one. Loved the EQ curves so much, I got one when I started mastering. It’s truly a poor mans GML”

“I had a bit of use years ago with both a 621B and 622B – certainly lots of vibe”

“I personally prefer the 622. It has more character. I find that its great for electric guitars”

“These things are extremely underrated as EQ’s and sound great. I was a big fan of it on drums especially”

“It’s a pretty cool EQ that’s great for control over low end stuff like kick, toms, bass, tuba or bari sax etc. pretty good with anything else. I also dig that each band is bypassable”

“I still got 2 Orban 622Bs and use them mostly for peaky stuff like drums and percussion. I don’t like them too much on guitars or more RMS signals, but on drums they still kick butt. I’ll keep mine for a while. Of course now the new EQ-2NV is majorly kicking butt and mostly gets the cake over the Orbans, but the 622s are still a good EQ to have around” – M Wagener, 2004

“Mine has the output transformers (do all “B” models have output transformers?), and I would describe the sound as semi-colored and “grabby”… which I’m liking on drums”

“The thing I like about the 622 is that each band is bypassable. You can really hear what each band is doing, or only use one band if you please”

“622b is very colorful (in a nice way) and it has been a workhorse here on my studio, specially on kick, bass and smoothing out problematic singers”

Tested & working 100%. Supplied with new XLR pigtails. Photos show the EQ fro sale

The post Orban 622B Stereo Parametric Equaliser (Refurbished & Recapped) #9 appeared first on BN1studio.

The Dolby 361 was ubiquitous throughout the 1970s, 80s and 90s. It was the standard single-channel Dolby mother unit, compatible with the original 1965 Cat 22 Dolby A card and the later Cat 280 Dolby SR cards. Every studio had a couple of 361s but they are now surprisingly rare on the secondhand market

As a double-ended noise reduction system, Dolby A encoded the signal and applied reciprocal decoding on playback. If the tape machine was aligned correctly the system was pretty transparent and gave a significant noise reduction, particularly at higher frequencies

Post-digital, Dolbys are obsolete except for archiving and for doing the Dolby Trick. Dolby A splits the audio spectrum into four bands, applying varying amounts of compression to each. Compression is level-dependent so, as levels rise, compression backs off. At higher frequencies, where tape hiss is more obvious and average signal levels are relatively low, a fair amount of compression could be used, resulting in a dramatic perceived reduction in tape noise & hiss

These Dolby 361s date back to the 1970s & 80s and may have missing bulbs. This does not affect operation. Tested to encode only, working 100%. Supplied with a modified & tested Cat 22 (Dolby A) card

The Dolby Trick
The Dolby Trick uses the high-frequency compression of Dolby A as an audio effect. By encoding the signal, and not decoding it, it lifts the harmonics & airiness of sounds in an attractive way. It works like a charm on backing vocals but it’s also useful on guitars, drum ambience & etc

Used with standard Cat 22 cards the effect is subtle. We have modified the Cat 22, bypassing processing on the lower two frequency bands, to create a more pronounced effect

Photos to follow

The post Dolby 361 Processor with Modified Cat 22 Dolby Trick Card #11 appeared first on BN1studio.

The Dolby 361 was ubiquitous throughout the 1970s, 80s and 90s. It was the standard single-channel Dolby mother unit, compatible with the original 1965 Cat 22 Dolby A card and the later Cat 280 Dolby SR cards. Every studio had a couple of 361s but they are now surprisingly rare on the secondhand market

As a double-ended noise reduction system, Dolby A encoded the signal and applied reciprocal decoding on playback. If the tape machine was aligned correctly the system was pretty transparent and gave a significant noise reduction, particularly at higher frequencies

Post-digital, Dolbys are obsolete except for archiving and for doing the Dolby Trick. Dolby A splits the audio spectrum into four bands, applying varying amounts of compression to each. Compression is level-dependent so, as levels rise, compression backs off. At higher frequencies, where tape hiss is more obvious and average signal levels are relatively low, a fair amount of compression could be used, resulting in a dramatic perceived reduction in tape noise & hiss

These Dolby 361s date back to the 1970s & 80s and may have missing bulbs. This does not affect operation. Tested to encode only, working 100%. Supplied with a modified & tested Cat 22 (Dolby A) card

The Dolby Trick
The Dolby Trick uses the high-frequency compression of Dolby A as an audio effect. By encoding the signal, and not decoding it, it lifts the harmonics & airiness of sounds in an attractive way. It works like a charm on backing vocals but it’s also useful on guitars, drum ambience & etc

Used with standard Cat 22 cards the effect is subtle. We have modified the Cat 22, bypassing processing on the lower two frequency bands, to create a more pronounced effect

Photos to follow

The post Dolby 361 Processor with Modified Cat 22 Dolby Trick Card #10 appeared first on BN1studio.

The three bands have plenty of overlap – they span 31-400, 62-8000 and 125-16000 Hz – so it’s easy to nail problem frequencies or boost to the moon. Maximum boost & cut are 20 dB giving great scope for EQ changes – and for overloading

The MKPE has an unusual Drive circuit which sets the gain structure of the unit. Gain sets the overall output level but Drive sets the level in the eq section. Drive reduces the input level while increasing the output, giving no change in overall gain

In use the MKPE is a neat parametric EQ with lovely control feel and bands that can be varied from super-narrow to very broad. Minimum Q (widest bandwidth) is marked as 4 octaves and narrowest is 0.25 or 1/4 octave. At wider bandwidths it’s a smooth, articulate equaliser with no vices. It lives up to its reputation as a great bass equaliser – it’s particularly good at low frequencies, giving real control over bass synths or the weight of a drum kit

The MKPE is not a bland, subtle device like most modern equalisers but more of a tool for making radical changes. There’s plenty of boost & cut available. Each band can make huge, broad changes and you never find yourself wanting more bands

“The Moog parametric is an unassuming 2U box that really delivered powerful sound shaping… it’s unusually forgiving and musical”

“Don’t overlook a vintage Moog 3 band parametric. They’re very effective EQs”

“I own two of these puppies and since I learned how to properly abuse them they have gone from my consider selling list to my desert island list”

“One of my few regrets selling gear. Used to use one in my bass rack but I miss it even more now that I have a studio. Love the drive function and everything about it is great”

“I used to have a pair… very cool on bass frequencies”

“The lower end of the mid band is where it’s at for me on these. I (at least at the moment) prefer mine on bass to my Pultec”

“I have one and LOVE it. Super huge low end thickening. Lives along side Massive Passive, Pultecs, and Trident EQs and sees plenty of action”

“I have 2. Great EQ’s. Very thick and warm”

“This is one of those parametrics that gets nice tones with boost and a deep notch that actually works.”

The MKPE is a rare equaliser with character. I searched for a MOOG EQ in the 1980s but never managed to locate one. This one was sourced in the USA

In very good, used condition with minor case marks. Tested & working 100%. Photos show the equaliser for sale

The post MOOG MKPE Parametric Equaliser #5 appeared first on BN1studio.

They are the fastest tone shapers I have ever used. Its really hard to make them sound bad. I have been using them on everything!” – Gearspace thread

“They are incredibly smooth and elegant to my ear. They sound equally good on most any individual tracks or on mixbuss or even mastering”

“I am quite confident in saying this is hands-down my favorite EQ on the planet …”

In excellent condition with only the most minor marks. Tested & working 100%. Photos show the item for sale

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Vintage equaliser from UREI. The 546 is a two-channel, four band parametric equaliser with variable high- and low-pass filters and input gain controls. In usual UREI fashion, the ergonomics and signal path have been honed to perfection , producing a highly useable, efficient EQ

Each band has a push-pull, in / out switch to bypass that band only. Each channel has a bypass switch and this 546 has been modified with a filter bypass switches. In bypass bandwidth is extended to 200 KHz

The 546 is easy to use with plenty of scope in the controls and well-judged linearity. The tightest filter setting has a high Q is suitable for notching out problem frequencies. At broader settings each band is wider & smoother. The 546 turns out to be my favourite bass equaliser – it’s easy to put weight into a bass sound, or warmth, or depth without it sounding wooly

“There’s also a certain curiosity factor with this eq. Every engineer that’s been in my studio since I got it has immediately zoned in on the 546 and been intrigued with it. There were only about 1,000 made, I believe, so it’s not something everyone has seen”

“Very useful piece of gear IMHO! Good for notching out annoying freq’s in guitars/vocals. You may find you like on a variety of sources”

“A friend was clearing out his studio of older stuff and gave me his a few years ago. It sounds good, great for bass, guitars or vocals. Mine seems a bit sensitive to overload, probably needs new caps.

The 546 was original UREI [United Recording Electronics Industries] gear from their Sun Valley days, and was pre – JBL. I think 70’s.”

“It’s a great parametric EQ for the price that they seem to fetch. They do not have a lot of headroom (which is a problem with lots of parametrics) but you can generally work around it. Not a warm or sweet sounding EQ but great for surgical stuff like fixing bad kicks, vocals, etc”

In very good used condition. Has minor rack rash & case marks but it’s in great shape for a vintage piece. All knobs are original & in good condition Refurbished & psu recapped. Tested & working 100%. Photos show the EQ for sale

The post UREI 546 Dual Parametric Equaliser #3 (Refurbished & Recapped) appeared first on BN1studio.

In very good, used condition. Refurbished, recapped, case repainted, new slider caps, tested & working 100%. Photos show the first EQ for sale

The post MXR M-125 Thirty-One Band Graphic Equaliser (Refurbished & Recapped) #2 appeared first on BN1studio.

In very good, used condition. Refurbished, recapped, case repainted, new slider caps, tested & working 100%. Photos show the first unit for sale

The post MXR M-125 Thirty-One Band Graphic Equaliser (Refurbished & Recapped) #1 appeared first on BN1studio.

UREI 27-Band graphic equaliser. These are heavy, inductor-based equalisers with a narrow, 1/3rd-octave bandwidth.

1/3rd-octave equalisers were typically used for room EQ back in the 70s and 80s, to equalise the room to a target “room curve”. As that practice fell out of favour, lots of 27-band EQs ended up in studio storerooms, unused

On music signals, individual bands sound like notch filters – which is exactly what they are – but they can be teased into more gentle curves, or abused to radically change the signal

Another tool for the toolbox…

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