Gear #8

The Ladder is a Dynamic Transistor Ladder Filter that is based on Bob Moog’s original ladder filter designs. Don’t be fooled by its small size, The Ladder is a powerful and fantastic sound sculpting tool that allows for creative and unique sound shifting and shaping. By design, The Ladder sports the smoothest all analog Low Pass and High Pass filter section. Simply adjust the Cutoff knob to add vibe, warmth or tonal adjustment.  Choose LP to add analog vibe and warmth to a sound or select HP for sweetening and relieving the heft of a sound.

The Envelope section of The Ladder is where things get really cool:

–       Variable Attack and Release controls allow you to perfectly dial in the behavior of The Ladder’s envelope section. Use these controls to open and close the envelope as fast as lightning, or slow as molasses.

–       Use the Amount control in Positive or Negative mode for mild to extreme sound shaping and manipulation. From slight timbral excitement and voicing to extreme compression-like behavior. Even reversed filter action is achievable!

–       The Resonance control used with The Ladder’s other features allows for the creation of sweet, dynamic and even speech like behavior. Use it to tune The Ladder to a sound source… or not. You can excite or accentuate specific frequencies as well as create completely new unique and wild sounds.

NOTE: The Ladder’s Resonance control will push the unit into self-oscillation. This can be used for effect if desired.

The 2Pole/4Pole switch allows you to select how aggressive your filter slope is. 2 pole is equal to 12db per octave which is smooth and sweet, while 4 pole is 24db per octave which is hard and aggressive.

You also have a hard wire Bypass for totally transparent routing and A/B comparison

The Ladder isn’t your average filter. It’s a big step up

Gear #7

Three stages of true analog saturation in a radically affordable 500-series module.

The Palette provides bullet-proof power, sonically transparent i/o, and elegant controls for three Colour modules. The Palette itself is compatible with any 500-series rack and is currently available as a beginner-friendly DIY kit. Colours are sold separately from the Palette kit.

Colour 500-Series Palette Kit mkI (Assembled Only)

Assemblato da Matteo Fioravanti



Universal Audio M610 Mic Preamp

Universal Audio M610 Tube Preamplifier
Universal Audio M610 Tube Preamplifier
The Universal Audio M610 is a monophonic tube mic/instrument preamplifier. It’s great for tracking vocals, guitars and just about anything.This is mono version of the Universal Audio M2-610. This version comes with the classic sounding EQ that has two fixed frequency EQ switches. These can boost frequencies at 4k by +2dB or 8kHz at +4dB or OFF. There is also a low cut filter that is fixed at either 70Hz or 140Hz with a 6dB per octave high pass filter slope. This is somewhat of a relaxed slope and is used to remove the low frequency thumps and thuds before they hit the preamp stage. It also has a switchable cut or boost input gain: 1.5dB, 3dB, 4.5dB, 6dB, or 9dB. It has the same vibrant high-frequency response and deep, gorgeous low end that has graced countless recordings and continues Universal Audio’s reputation for sonic excellence.

The Universal Audio M610 is a MONO tube microphone preamp based upon the M.T. Putnam 610 console built back in the ’50s. Only 10 of these boards where manufactured. The 610 Console used rotary knobs and a modular design. It is known for it’s warm and unique sound. This board was used on many recordings by the Doors, Beach Boys, and Sarah Vaughan to name a few. Even Van Halen’s debut album was recorded on this console. Universal Audio has taken the tube mic preamp and put into a 19″ rackmount box.

This is a single channel preamp that can be used for Microphones, Instruments, and line level sources. It has two gain stages where each stage has a dual-triode tube that’s running in CLASS A mode single ended. The use of variable negative feedback helps to control the gain, distortion and frequency response of the unit.

The inputs and outputs are transformer coupled. The components used are of the highest quality and feature a double sized alloy core transformers with custom windings. The tubes used are hand selected and tested individually. Standard XLR input and output connectors are used and are located on the back panel of the rackmount box. There are three connectors on the back which are: XLR OUTPUT, XLR LINE INPUT, and XLR MIC INPUT. The OUTPUT is wired as Pin2 is positive and changes depending upon the polarity switch on the front panel.


The controls are rather simple but the sound is what makes this preamp so great. It has a simple EQ section that consists of a Low Cut and High Boost shelf filter. The Low Cut filter is switchable between 70Hz, 140Hz, and OFF. When the 70 position is selected it routes the signal through a +6dB per octave high pass filter. This is a gentle slope and is used to remove the low frequency rumble. It is -3dB point is at 70Hz. If the 140 position is selected then the same -6dB per octave slope high pass filter is used. The -3dB point is at 140Hz.

The Hi BOOST filters uses a toggle switch that has three positions: MID, OFF, and HIGH. When HIGH is selected a gentle shelf EQ is used that peaks at +4dB@8kHz. If the MID position is selected then this activates a shelf EQ that peaks a +2dB@4kHz while the OFF position bypasses the filters all together.

The 610 has phantom power built-in and you can turn it on using the toggle switch located on the front panel. Most condenser mics require phantom power from which to operate. The 610 is set at +48VDC which is the standard voltage that MOST condensers use. If you’re not certain about the voltage requirements of your mic please check the manual before connecting. If you aren’t using the Phantom power then turn it off. Also it’s best to turn down the console or preamp when turning ON the phantom power. This will help to avoid loud transients that maybe produced when it’s turned on.


  • Based Upon the Original Bill Putnam 610 design
  • Custom designed input and output transformers
  • Great Warm Sound
  • Mic, Balanced Line Inputs
  • 1/4″ Hi-Z Input
  • XLR Input and Output connectors
  • Frequency Response 20Hz to 20kHz ±1dB
  • Gain 50dB
  • Distortion < 0.5% THD
  • SN Ratio >70dB
  • 19″ Rackmount chassis 2U Height
  • Input Gain Control
  • Output Level Control
  • Classic EQ Tube Warmth Sound
  • Custom
  • Wound Double Sized Alloy Transformers

Gear#4_Roland Analog Echo DC-20

 Roland Analog Echo DC-20

“This is a rare analog delay unit made by Roland. One of the best analog BBD based analog delay made. The repeat rate is very sensitive and subtle and the intensity knob allows for almost endless repeats with the ability to self oscillate. Its a very dark sounding delay with a very smooth sound. Check out the video!”

YouTube Uploaded by AtomicMusicStore on Sep 26, 2011″Roland Analog Echo DC-20 eBay Demo”

Gear#3 – The Holy Bible

TAPE OP vol2 – The Book About Creative Music Recording by Larry Crane

This book features interviews and articles from issues 11 to 20 of Tape Op , an independently published magazine founded in 1996. With a fiercely loyal readership, Tape Op covers creative and practical music recording topics from the famous studios to musicians creating masterpieces in their bedrooms. Creativity, technique, equipment, passion and learning collide in this entertaining, value-rich publication. Interviews and articles in this volume include Abbey Road Studio, Butch Vig, Jim Dickinson, Joe Chiccarelli, Ani DiFranco, Fugazi, The Flaming Lips, and Ween.

preview here:

buy here:


The JDK Audio R22 dual channel compressor features two channels of API’s patented award winning compressor circuit in a rack mount unit with internal power supply. This is the same compressor circuit originally designed into all ATI Paragon mixing consoles. Each channel includes the patented ‘THRUST’ switch to protect the sensitive high frequency content of the audio signal even under the most vigorous of compression ratios. The perfect companion to your R20 mic-preamp and R24 EQ, the R22 compressor provides comprehensive easy-to-use control of the audio signal with custom VU metering of both output and gain reduction. The two channels can even be linked for use as a stereo compressor with true RMS power summing of the left and right signals.


Patented THRUST circuit
Variable Threshold, Ratio, and Make-up Gain controls
Switchable metering of output level and gain reduction
Above threshold LED indication
Switchable Hard or Soft Knee compression
Linkable for stereo operation with true RMS power summing

Fully balanced XLR and 1/4″ inputs and outputs



New gear for Argolab_ The VOG analog bass resonance tool is the latest creation from Little Labs, and is Little Labs first entry in the popular API 500-Series module format. The VOG was originally designed to capture the chest resonance of vocalists or voice over artists, enabling them to still have a proximity type effect without havingto be so close to the mic, hence the name, VOG, or Voice of God. However, when I heard it on kick drum and bass, it became clear this would be the go to device to make these instruments sound huge. The VOG lets users sweep a sharp peak resonance from 20 to 300 Hz, while anything below the peak is rolled off at a steep -24dB per octave. This lets users focus on the low end they want, while eliminating low-end mush and unnecessary woofer excursion. A subharmonic can be the focus, or the fundamental, or upper harmonics. On a kick drum, for example, the overall effect of turning VOGs frequency knob sounds like someone is tightening or loosening the drumhead. In a mix, VOG allows users to place the bass spectrum instruments so they do not interfere or get in the way of each other. The i-VOG is identical to the VOG, but it’s a standalone version, no rack required. Oh, but it does add a hi quality hi Z instrument in which adds to its creative capability. This video is for the UA plug in of the VOG, but the hardware is identical, and this was well produced. SOUND ON SOUND review: