The TB12 Tone Beast lives up to its name by allowing you to select between two different discrete op amps, two different output transformers that can be bypassed altogether, two input impedance settings for dynamic, condenser, or ribbon mic optimization, and two different capacitors. The preamp is capable of producing colored, vintage-style tones with early break up and clean, transparent modern tones. Thanks to its front-panel Hi-Z instrument input, the preamp can be used to record DI tracks, while the rear-panel 1/4″ line input allows you to use the TB12 to provide color or warm up previously recorded tracks.
The DBX 376 has taken the essential tools needed for channel strip processors and has greatly added to the feature list, making it an all inclusive toolbox that offers all of the effects required. With an effect menu list that includes such standard features as: a tube preamp section, 3-Band parametric EQ section, Compressor, De-Esser and digital outputs, the 376 is the perfect companion piece for recording and tracking vocals and mic’d applications in the analog and digital domain.
If you’re looking to bring your recordings up to the level, there’s nothing like introducing a quality preamplifier. And, with ART’s Pro MPA-II, you’ll have more than enough sonic range to dial in nearly any sound imaginable – no matter what kind of microphones you have in your mic locker right now, or the microphones you add to it in the future. That’s because, on each channel you have selectable phantom power for your condensers. Plus, there’s plenty of gain on-board for bringing your ribbon microphone signals up into usable levels. Beyond that, variable input impedance lets you draw out a rich range of tones from each of your microphones – use it to match the pre-amplifier to your microphones, or creatively mismatch tones for a unique sound. Plus, you can operate the ART Pro MPA-II at high or normal plate voltage, for an even wider range of sounds. There’s also a per-channel low-cut filter to squelch issues with rumble.
Wanting to streamline and simplify his gear for new projects, Geddy partnered with Tech 21 to design a signature SansAmp, the GED-2112. This challenging collaboration involved distilling a rackload of equipment into a single rackspace. It resulted in a new format for Parallel Pre-Amping — having two separate internal pre-amps that run in parallel.
The Drive pre-amp section is based upon the versatile SansAmp RPM, for a wide range of sonic possibilities. The Deep pre-amp section offers low end boost for thick, meaty tones. Saturation goes from clean in lower settings to increased harmonics and tube-like compression in higher settings. To keep things lean and efficient, the EQ curve is pre-set to Geddy’s personal specs. You can use either section independently or blend them externally direct to a mixing board as well as to two amplifiers.
Unconventional? Unorthodox? Unique? You betcha.
A modified Behringer MIC2200; great for studio and live applications. It derives its personality from a hand-selected 12AX7 for superior sonic character and low noise operation. The MIC2200 is great for adding a bit of “spice” to the sound of standard digital recordings
The MIC2200 features a fully parametric EQ with adjustable center frequency, bandwidth and level per channel. Channels also feature a phase reverse switch.