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Tube-Tech MEC 1A Recording Channel
Tube-Tech
The rackmount Tube-Tech MEC 1A recording channel combines the MP 1A microphone and DI preamplifier, EQ 1A equalizer, and CL 1B optical compressor. It doesn't get any better than that baby! The MEC 1A is designed and hand crafted to deliver the warmth of vintage quality recordings with unrivaled accuracy, purity, and realism. You couldn't ask for a better front end for your DAW!
Tube-Tech MEC 1A Recording Channel, First Take: - All-tube channel strip comprising MP 1A preamp, EQ 1A equalizer, and CL 1B compressor
Microphone preamp:
The microphone preamplifier consists of a microphone input transformer (with a static screen) with a step-up of +10 dB, two dual tube preamplifiers with two stepped gain switches, one with 10dB/step (coarse) and one 1dB/step (fine) giving a total gain range of +20dB to +70dB. The microphone input is provided with a switchable -20dB attenuation (PAD), switchable +48 V phantom-power and phase reverse. A highpass filter for the microphone and the DI input is switchable between off, 20 Hz and 40 Hz. For more information, check out the Tube-Tech MP 1A (# 182001)
The microphone input is capable of accepting levels of up to +6 dBU (1.55V) at 40 Hz without the PAD. With the PAD switched into the circuit, the MEC 1A can be used as a unity gain line amplifier accepting levels up to +26 dBU (15.5V) at 40 Hz. The high impedance DI input is unbalanced and placed in the circuit directly after the input transformer. The gain range for this input is +10dB to +60dB. When in use, the microphone input is disabled.
Equalizer:
You'll love the sound of this EQ. It performs exactly as you would want a high-end EQ to. With minimal tweaking, you can add all of the punch, polish, and air you like to make your recordings stand out. The equalizer features low and high shelving filter with a gain range of +/- 15dB, each with 6 switchable frequencies and a band filter with a gain range of +/- 20dB, 12 switchable frequencies and a bandwidth control. The shelving and the bell filters are designed around a dual tube operational amplifier. The equalizer has a separate in/out switch. For more information, check out the Tube-Tech EQ 1A (# 182019)
Compressor:
The compressor is the same type optocompressor found the the Tube-Tech CL 1B, the vocal compressor of choice for so many top producers and engineers. It has controls for ratio, threshold, attack and release. A switch selects between manual attack and release and fixed attack and release. With the link switch it is possible to link several units together on two independent bi- directional buses. The compressor has a separate in /out switch. In normal operation the equalizer is in front of the compressor, but a switch enables the compressor to be in front of the equalizer. For more information, check out the Tube-Tech CL 1B (# 182025)
About Tube-Tech
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Tube-Tech MMC 1A Mic Preamp and Multi-Band Compressor
Tube-Tech
The Tube-Tech MMC 1A, fast becoming a favorite of certain world-class producers, is a very unique unit in a sea of me-too channels strips. Along with a phenomenal-sounding tube preamp, it features an optocompressor with three bands, low, mid, and high, and adjustable crossover points so yo can compress each band individually. This allows you to tailor compression for problem solving or to create a vocal track that's truly larger than life. Thanks to its variable crossovers, you can use it to add body to thin vocals, allow the top end to open up during soft passages, reduce harsh midrange without losing lows and highs, tame highs without losing clarity for a more intimate sound, and all the while, save EQ for other purposes.
Tube-Tech MMC 1A Preamp and Mulitband Compressor - Channel strip with all-tube preamp and three-band compressor
- Variable impedance preamp with +70dB gain
- 3-band compressor with variable crossover points
- Balanced and fully floating I/O
Channel Strip With All-Tube Preamp And Three-Band Compressor
The Tube-Tech MMC 1A is a complete front-end. It includes an additional Direct Instrument input as well as a separate line input. The microphone input has switchable loading impedance, phantom power, phase reversal and a 20 dB Pad. All inputs are equipped with a low-cut filter. The 3-band optical compressor is designed to maintain optimum summing of all three bands with a remarkably flat frequency response. A bypass switch takes the entire compressor out of the signal path.
Mic Preamplifier
The microphone preamplifier consists of a microphone input transformer (with a static screen) with a step-up of +10 dB, two dual tube preamplifiers with a stepped gain switch, with 10dB/step (+20 dB - +60 dB) giving a total gain range of +20dB to +70dB. The microphone input is provided with a switchable -20dB attenuation (PAD), switchable +48V phantom-power, a phase reverse and has swithable input impedance (600, 1200, 2400 Ohm).
The high impedance DI input is unbalanced and placed in the circuit directly after the input transformer. The gain range for this input is +10dB to +60dB. When in use, the microphone input is disabled. A high pass filter for the microphone, DI and line input is switchable between off, 20 Hz (12dB/octave) and 40 Hz (6dB/octave). All inputs have a common stepped gain switch with 2dB/step (-10dB - +10dB).
Compressor
The signal is fed to the two crossover networks, each made with a single RC circuit thereby preserving optimum summation of the three bands at the output. The crossover frequency between the low band and the mid band is variable from 60Hz to 300Hz or 240Hz to1200Hz and the crossover frequency between mid band and the high band is variable from 1,2kHz to 6kHz. The signals from the three bands are then fed to the three separate side chain circuits, each common for left and ri
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Tube-Tech MP 1A Microphone Preamplifier
Tube-Tech
The Tube-Tech MP 1A dual channel preamp and instrument DI has been one of the secrets that engineers and producers have kept to themselves for bringing the rounder and more pleasing sound of analog gear to digital recording. And where some preamps tend to work well with certain mics but not others, the MP 1A also has the uncanny ability to make any mic your put through it sound great. A truly phenomenal-sounding preamp, the MP 1A excels on electric guitars and vocals. To give you an idea of its versatility, the MP 1A has been part of Julio Iglesias' vocal chain for years and is the preamp that Frank Fillipetti used to record Johnathan Davis' vocals on Korn's Take a Look in the Mirror.
Tube-Tech MP 1A, First Take: - Dual channel all-tube mic preamp and instrument DI
- Designed for ultra low-noise operation
- Switchable 20dB pad, can be used as a unity gain line amplifier, +70dB mic input gain
- DI input with switchable high-pass filter and +60 gain
Dual Channel All-Tube Mic Preamp And Instrument DI
The rackmount Tube-Tech MP 1A microphone preamplifier is a combined two channel microphone and DI preamplifier. Each amplifier consists of a microphone input transformer with a step-up of +10 dB, a dual tube preamplifier with a stepped gain (5dB/step, passive and active), an output amplifier with two dual tubes in push-pull and an output transformer. The high impedance DI inputs are unbalanced and placed in the circuit directly after the input transformer, with a gain ranging from +10dB to +60dB.
Designed For Ultra Low-Noise Operation
The amplifiers are all tube based and the heaters are fed stabilized DC-voltage only. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion or hum. All transformers, with the exception of the mains transformer, are enclosed in MU-metal cans. MU-metal (pronounced mew-metal) is a highly permeable alloy that absorbs and redirects interfering magnetic fields away from the transformers. Input and output transformers come with a static screen between the primary and secondary wirings. These screens shield the secondary from the primary and prevent RF (radio frequency) electromagnetic noise from getting across.
Switchable Pad, +70dB GainThe microphone inputs are provided with a switchable -20dB attenuation pad in front of the mic transformer and switchable +48V phantom-power. The microphone input is capable of accepting levels of up to +6 dBU (1.55V) at 40 Hz without the pad and +26dBU (15.5V) at 40 Hz with the pad, so the microphone input can be used as a unity gain line amplifier*. The gain switch for the mic inputs has a range from +20dB to +70dB in steps of 5dB, which allows use with ribbon mics. A high pass filter for the microphone and the DI input is switchable between off, 20 Hz (12dB/octave) and 40 H
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Tube-Tech PE-1C Program Equalizer
Tube-Tech
The Tube-Tech PE 1C Program Equalizer is the design that started it all for John Petersen and Tube-Tech. It's an all tube version of the legendary Pultec EQP 1A, an equalizer that was, and still is, known for its uncanny ability to make things sound better by just running signal through it. Has Tube-Tech captured that magic? Just do a Google search for Tube-Tech PE 1C. Page after page of world class and mid- to upper-level recording studios come up. That alone tells the whole story.
Tube-Tech PE 1C Program Equalizer, First Take: - Passive Pultec-style EQ
- Tube-based gain-makeup amplifer
- Balanced I/O and Floating Transformers
Passive EQ
The PE 1C contains a passive filter and a tube-based amplifier to restore the loss from the filter. The filter has a low frequency boost/attenuate section with 4 selective frequencies, a high frequency boost section with a variable bandwidth and 10 selective frequencies and a high-frequency attenuation section with 3 selective frequencies. The filter is placed directly after the input transformer therefore eliminating noise from the amplifier when boosting either low or high frequencies.
The amplifier consists of two tubes (valves) in push-pull configuration (one ECC 83 as the pre-amp and phase splitter, and one ECC 82 as the output stage), and an output transformer. Both input and output are balanced and fully floating. The in/out key switches the filter in and out without clicks and changes in level, while the amplifier remain in the signal path.
Balanced I/O and Floating Transformers
Input and output are balanced as well as fully floating. This provides maximum electronic isolation for superior noise rejection. The power supply for the pre-amp and phase splitter are stabilized and the heaters of both tubes (valves) are fed with a stabilized DC voltage. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion. Put simply, the PE 1C's DC-stabilized circuits keep the EQ bands free of any unwanted artifacts. EQ is smooth and distortion-free.
About Tube-Tech
For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (digital audio routers). He also designed tape recorder playback/recording amps for Lyrec tape recorders (found in the studios of the legendary Joe Meek and Vangelis). His first design under the name of Tube-Tech was an all-tube equalizer based on the legendary Pultec EQP 1A. Petersen continued to design and manufacture a number of innovative all-tube outboard processors including preamps, mult
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Tube-Tech SMC 2B Stereo Multi-Band Compressor
Tube-Tech
The rackmount Tube-Tech SMC 2B Stereo Multiband Compressor is an all tube-based compressor that adds the warmth of vintage quality masters to your mix. If you've heard records by Beck, Offspring, Rufus Wainright, and All American Rejects, you'll find a Tube-Tech SMC 2B Multi-band compressor in the hands of Joe Chiccarelli strapped across the stereo bus.
Tube-Tech SCM 2B Stereo Multi-band Compressor, First Take: - Multi-bandband compression and variable crossover points let you craft your overall mix
- Three independent stereo optocompressors
- Flat frequency response across all three bands
- Balanced I/O and floating transformers
Variable Crossover
the Tube-Tech SCM 2B's variable crossover points ensure precise control with all three bands of optocompression. Independent band specific Threshold, Ratio, Attack, Release & Gain parameters make the SMC 2B as flexible as it is accurate. For example, a stereo compressor can squash and muddy the midrange of rock records. With the SMC 2B, you can add just the slightest compression to the midrange where the guitars live to keep them vibrant and lively. The adjustable crossover points allows you to set the low-frequency range so that the bass on dance tracks won't get over-compressed.
Three Stereo Optocompressors
The Tube-Tech SMC 2B Stereo Multiband Compressor features three independent optical stereo compressors. The signal is divided into three bands (Low, Mid & High) by 6 dB/octave x-over networks with variable frequencies: 60-1200 Hz for Low/Mid band and 1,2-6 kHz for the Mid/High band.
Flat Frequency Response
The design of the crossover networks optimizes the summing of all three bands, resulting in a flat frequency response (within +/-0.25 dB), when the gain controls for each band are set at the same level. The three compressors feature Threshold, Ratio, Attack, Release and Gain and a display showing gain reduction. Master levels are set with Output Gain and Balance controls.
Balanced I/O and Floating Transformers
Both Input and Output are balanced and have fully floating transformers with a static screen, which provides the greatest amount of electronic isolation for elimination of ground loops, resulting in super-quiet operation. The power supply and the sidechain circuit are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilized.
About Tube-Tech
For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (digital audio routers). He also designed tape recorder playba
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Tube-Tech SMC 2BM Mastering Multi-Band Compressor
Tube-Tech
The Tube-Tech SMC 2BM is the only all-tube based stereo mastering compressor that features multiband compression. Designed specifically for mastering, it offers Tube-Tech's renowned sound quality and precision, plus greater flexibility for the mastering engineer. Based on Tube-Tech's SMC 2B, the SMC 2BM adds matched resistor level controls for precise replication of previously used settings. The 12 step-matched resistor gain controls on the SMC 2BM guarantee channel to channel and recall accuracy within 0.1 dB. Side-chain controls employ 31-detent potentiometers. The unit includes variable crossover points for precise control of all three bands of opto-compression. Independent band-specific threshold, ratio, attack, release and gain parameters make the unit flexible, as well as accurate.
Tube-Tech SMC 2BM Stereo Multiband Compressor, First Take: - Three independent optical stereo compressors
- 3-bands with adjustable crossover points
- Balanced I/O and Floating Transformers
Three Independent Optical Stereo Compressors
The rackmount Tube-Tech SMC 2BM Stereo Multiband Compressor features three independent optical stereo compressors. The three compressors feature Threshold, Ratio, Attack, Release, and Gain controls, and a display showing gain reduction. Master levels are set with Output Gain and Balance controls.
Three bands with Adjustable Crossover Points
The signal is divided into three bands (Low, Mid & High) by 6dB/octave crossover networks with 12 selectable frequencies: 60 1200Hz for Low/Mid band and 6 selectable frequencies: 1.2 6.0 Hz for the Mid/High band. The design of the crossover networks optimizes the summing of all three bands, resulting in a flat frequency response (within +/-0.25 dB), when the gain controls for each band are set at the same level. The two crossover frequencies are made with a single RC circuit thereby preserving optimum summation of the three bands at the output.
Balanced I/O and Floating Transformers
Both Input and Output are balanced and have fully floating transformers with a static screen. This provides maximum electronic isolation for superior noise rejection. The power supply and the sidechain circuit are based on a solid state circuit. With the exception of the output stage all DC voltages are stabilized.
About Tube-Tech
For over twenty years, Tube Tech has been one of the most prominent names in all-tube signal processing equipment. You'll find their gear in the best recording and mastering studios around the world. The company's founder, John Petersen is an electrical engineer who was factory trained at Solid State Logic, EMT, Studer, Sony, Neumann, and NTP Electonik (digital audio routers). He also designed tape recorder playback/recording amps for Lyrec tape recorders (found in the studios of the legendary Joe Meek and Vangelis). His first desig
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Tube-Tech SSA 2A Stereo Summing Amplifier
Tube-Tech
Yes, you can mix inside the box and get good results, but with the Tube-Tech SSA 2A Stereo Summing Amplifier, you can mix inside a much better box and get stunning results. Where extremely high-quality summing of several signals into two channels is desired (and where isn't it?), the SSA 2A is a top choice.
Tube-Tech SSA 2A Stereo Summing Amplifier, First Take: - Ultra high-quality summing amplifier with very wide frequency response
- 8 stereo/4mono inputs summed to 2 channels out
- Inputs balanced by zero field transformer
- Balanced and fully floating outputs
Ultra High-Quality Summing Amplifier
The rackmountable Tube-Tech SSA 2A Stereo Summing Amplifier features two very low-noise, low-distortion summing amplifiers with a very wide frequency response of 5Hz 100 kHz. The inputs are transformer balanced and the circuits are symmetrical from input to output. The inputs are also capable of handling extremely high input levels.
8 Stereo/4 Mono Inputs Summed to 2 Outputs
The SSA 2A has 4 mono input (hard wired to CH1 and CH2) and 8 stereo inputs, which is summed together into two outputs. The SSA 2A consists of a summing amplifier at the input, a 23 stepped attenuator with a range of +/- 10 dB and an output stage. Two large VU-meters show the levels on the XLR output sockets. To avoid the distortion introduced by the VU-meters when connected directly to the output XLR sockets, symmetrical configured OP- amps buffer the VU-meters. The summing amplifier is a symmetrical two-stage amplifier, designed around two dual, low impedance, and high transconductance triodes. The input transformer is part of the dual feedback configured as a so-called zero field transformer. The attenuator is a heavy gilded 2 x 23-position switch with steps of +/- 0.5, 1, 1.5, 2, 2.5, 3, 4, 5, 6, 8, 10dB. The output stage is designed around two dual triodes in push-pull and an output transformer (with a static screen). Both the summing amplifiers and the output amplifiers are symmetrical.
Zero Field Transformer-Balanced Inputs
All inputs are balanced by two zero field transformers (one for each channel). In zero field transformer configurations, the transformer is part of the feedback circuit. There are several benefits to be derived form this: 1. The voltage across the transformer is reduced substantially, whereby a much smaller transformer is needed for the same specification. The reduction is of the same magnitude as the feedback applied. 2. The distortion at low frequencies is reduced substantially. 3. Frequency response in both the low and high range is extended. 4. Phase response in both the low and high range is more linear. The results are better harmonic balance of the instruments and more realistic sound.
Balanced and Fully Floating Outputs
The outputs are balanced and have fully floating transformers with a
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Tungsol 12AX7 Tube
Tungsol
The 12AX7 Tungsol has high gain, ultralow microphonics and superb linearity. The sound of this tube is full and musical.
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Tungsol 6L6 GC STR Power Tube Sets Hard Duet
Tungsol
Built to the same special tube request specs of leading amp manufacturers of the 1960s, this rugged and reliable power tube excels in the most demanding guitar amp circuits.
Soft, medium, and hard style descriptions refer to break up modes of the tube for an overdriven guitar signal. The Tungsol 6L6 GC STR Power Tubes are soft-rated tubes that break up slow and have the highest amount of headroom, while hard-rated tubes break up easier and have the least headroom, yielding a heavier, harder distortion. Medium-rated tubes fall in between.
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Tungsol 6L6 GC STR Power Tube Sets Hard Quartet
Tungsol
Built to the same special tube request specs of leading amp manufacturers of the 1960s, this rugged and reliable power tube excels in the most demanding guitar amp circuits.
Soft, medium, and hard style descriptions refer to break up modes of the tube for an overdriven guitar signal. The Tungsol 6L6 GC STR Power Tubes are soft-rated tubes that break up slow and have the highest amount of headroom, while hard-rated tubes break up easier and have the least headroom, yielding a heavier, harder distortion. Medium-rated tubes fall in between.
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Tungsol 6L6 GC STR Power Tube Sets Medium Duet
Tungsol
Built to the same special tube request specs of leading amp manufacturers of the 1960s, this rugged and reliable power tube excels in the most demanding guitar amp circuits.
Soft, medium, and hard style descriptions refer to break up modes of the tube for an overdriven guitar signal. The Tungsol 6L6 GC STR Power Tubes are soft-rated tubes that break up slow and have the highest amount of headroom, while hard-rated tubes break up easier and have the least headroom, yielding a heavier, harder distortion. Medium-rated tubes fall in between.
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Tungsol 6L6 GC STR Power Tube Sets Medium Quartet
Tungsol
Built to the same special tube request specs of leading amp manufacturers of the 1960s, this rugged and reliable power tube excels in the most demanding guitar amp circuits.
Soft, medium, and hard style descriptions refer to break up modes of the tube for an overdriven guitar signal. The Tungsol 6L6 GC STR Power Tubes are soft-rated tubes that break up slow and have the highest amount of headroom, while hard-rated tubes break up easier and have the least headroom, yielding a heavier, harder distortion. Medium-rated tubes fall in between.
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Tungsol 6L6 GC STR Power Tube Sets Soft Duet
Tungsol
Built to the same special tube request specs of leading amp manufacturers of the 1960s, this rugged and reliable power tube excels in the most demanding guitar amp circuits.
Soft, medium, and hard style descriptions refer to break up modes of the tube for an overdriven guitar signal. The Tungsol 6L6 GC STR Power Tubes are soft-rated tubes that break up slow and have the highest amount of headroom, while hard-rated tubes break up easier and have the least headroom, yielding a heavier, harder distortion. Medium-rated tubes fall in between.
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Tungsol 6L6 GC STR Power Tube Sets Soft Quartet
Tungsol
Built to the same special tube request specs of leading amp manufacturers of the 1960s, this rugged and reliable power tube excels in the most demanding guitar amp circuits.
Soft, medium, and hard style descriptions refer to break up modes of the tube for an overdriven guitar signal. The Tungsol 6L6 GC STR Power Tubes are soft-rated tubes that break up slow and have the highest amount of headroom, while hard-rated tubes break up easier and have the least headroom, yielding a heavier, harder distortion. Medium-rated tubes fall in between.
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Turbosound TXD-115 Subwoofer
Turbosound
Compact, front-loaded, passive subwoofer delivers rock-solid low-frequency reinforcement through a 15" low frequency driver. Constructed from birch plywood, fitted with flush handles, polemount socket, rubber feet, internal M10 rigging points, and 2 Speakon NL4MP connectors. 600W handling.
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Turbosound TXD-118 Subwoofer
Turbosound
Compact, front-loaded, passive subwoofer delivers rock-solid low-frequency reinforcement through an 18" driver. Constructed from birch plywood, fitted with flush handles, polemount socket, rubber feet, internal M10 rigging points, and 2 Speakon NL4MP connectors. 600W handling.
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Turbosound TXD-121 PA Speaker
Turbosound
Compact, passive, 2-way loudspeaker is loaded with a 12" LF driver and a 1" HF compression driver on a 70 x 40 HF horn in an easily transportable trapezoidal enclosure. Includes 2-stage, high-frequency protection system to guard against HF driver overload. Constructed from birch plywood, fitted with flush handles, polemount socket, rubber feet, internal M10 rigging points and 2 Speakon NL4MP connectors. 600W handling program.
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Turbosound TXD-12M Monitor Wedge
Turbosound
Compact, passive, 2-way floor monitor. The Turbosound TXD-12M speaker is loaded with a 12" LF driver and a 1" HF compression driver on a 70 x 40 HF horn. Low-profile, symmetrical enclosure. Has a built-in 2 stage high frequency protection system to guard against HF driver overload. The stage monitor is constructed from birch plywood, fitted with flush handles, polemount socket, rubber feet, internal M10 rigging points, and 2 Speakon NL4MP connectors. 600W handling.
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Turbosound TXD-151 PA Speaker
Turbosound
You get amazingly clear, worry-free sound with the compact, passive Turbosound TXD-151 15" 2-Way PA Speaker. The TXD-1512 loudspeaker features a 15" LF driver and a 1" HF compression driver on a 70 x 40 HF horn with a built-in 2-stage high-frequency protection system to guard against overload. Constructed from birch plywood, fitted with flush handles, polemount socket, rubber feet, internal M10 rigging points, and 2 Speakon NL4MP connectors. The Turbosound TXD-151 gives you 600W program handling.
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Turbosound TXD-215 Subwoofer
Turbosound
2 - 15" drivers push a massive wedge of bass from this front-loaded, passive enclosure. Constructed from birch plywood, fitted with flush handles, polemount socket, rubber feet, internal M10 rigging points, and 2 Speakon NL4MP connectors. 129dB maximum SPL. 1,200W power handling.
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U & I Software Artmatic Macintosh
U & I Software
By blurring the lines between video, animation, and music, Artmatic gives you the power to create colorful and incredible pictures, video effects, textures, animation, and sound. Astoundingly easy to use, it interactively generates astounding graphics and sound using a tree of tiles that represent graphic functions and filters. All tiles have their own settings which can change across keyframes to create belief-defying animation.
The software makes use of sophisticated mathematical components but you don't need to know anything about mathematics or computer graphics to create beautiful images for your website, greeting cards, music video, or fine art prints. Anyone can use ArtMatic! You can use ArtMatic to design killer filters and presets for use in MetaSynth. ArtMatic 3.0 is a carbon-based application that runs under both OS 9 and OSX.
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U & I Software MetaSynth Macintosh
U & I Software
MetaSynth is a vast creative space where your 2 most precious senses - sight and hearing - meet and interact in wonderful new ways! MetaSynth presents a new paradigm for sound design and music composition, enabling you to paint your sound onscreen and create vivid and compelling sonic textures. Sculpt all aspects of the sounds you create - stereo imaging, dynamics, tonal space, spectral content, and more - by manipulating MetaSynth's pictorial representation of sound and music. There's nothing else like it!
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U.S. Masters EP5 5-String Electric Bass Left-Handed Natural
U.S. Masters
You just don't expect to encounter the playability, tone, and features the EP5 offers in this price range. The Honduras mahogany body joins the graphite-reinforced maple/pao ferro neck/fingerboard at the 23rd fret without a heel, delivering rich harmonics and tone color. Equipped with EMG active EQ, a U.S. Masters split humbucker, Sperzel locking tuners, and a Graph Tech trem nut, this bass plays in tune and STAYS in tune. The offset conical fingerboard plays easy with low action and a consistent, intuitive feel.
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U.S. Masters Performer Series EP4J Electric Bass Guitar Natural Satin
U.S. Masters
This American-made electric bass features U.S. Masters' Ever-Tru neck profile with conical radius fingerboard, Contoured Flex truss rod assembly, Compression-Set Captive Neck Joint, use of premium components and custom-designed pickups and electronics that will provide you with playability and sound quality worthy of the world's finest players.
Exceptional acoustic qualities are the foundation of the US Masters EP4J bass: eveness of tone and response, extended bass and treble range, tight, solid low-end, tremendous sustain, superior detail and accurate intonation.
The U.S. Masters' patented Compression-Set Captive Neck Joint provides improved sound quality, response and structural integrity. The bass guitar's contoured Flex Neck Reinforcing Truss Rod System provides a lower action with a more consistent, uniform height along the entire neck. The Truss Rod makes an extremely strong, rigid, stable neck, a huge factor in creating the exceptional tone, attack, sustain, release and damping (tightness) of a U.S. Masters. Graphite Reinforcement bars further stiffen the neck and help keep the neck rigid for players who tune down, even a 4th! Intonation is improved because the neck can be set very close to flat - the distance between frets is not reduced due to the relief curvature of the neck. Easy Access truss rod adjustment at the heel. The EP4J bass is lightweight without compromising low-end. It has exceptional E string response and balance, and straight-line Minimum Friction headstock geometry.
The EP4J's custom-designed US Masters Soapbar pickup set provides a broad frequency response to deliver the exceptional acoustic qualities of the bass, and its proprietary Passive MultiVoice Electronics have diverse tone options.
US Masters unique Extended Uniform Neck Profile is more bio-mechanically efficient - players say it reduces fatigue, improves technique. The patented Contoured Flex Neck Reinforcing Truss Rod System provides a lower action with a more consistent, uniform height along the entire neck. The 34" scale compound radius 4-string provides for a consistent, uniformly low, easy-to-play action. Well-balanced, lightweight design.
Additional features include the finest quality woods and components used throughout, custom-made in the USA Pro-Series Top-Load bridge with improved tone over high mass bridges, premium Sperzel Precision Locking tuning machines for long life, improved tuning and to maintain pitch without slipping, and Graph Tech Trem Nut for improved tuning and pitch stability.
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U.S. Masters Performer Series EP5J 5-String Electric Bass Guitar Natural Satin
U.S. Masters
This American-made 5 string electric bass features U.S. Masters' Ever-Tru neck profile with conical radius fingerboard, Contoured Flex truss rod assembly, Compression-Set Captive Neck Joint, use of premium components and custom-designed pickups and electronics that will provide you with playability and sound quality worthy of the world's finest players.
Outstanding acoustical qualities are foundation of the EP5J US Masters bass: evenness of tone and response, extended bass and treble range, tight, solid low-end, tremendous sustain, superior detail and accurate intonation.
The U.S. Masters' patented Compression-Set Captive Neck Joint provides improved sound quality, response and structural integrity. The Contoured Flex Neck Reinforcing Truss Rod System provides a lower action with a more consistent, uniform height along the entire neck. The Truss Rod makes an extremely strong, rigid, stable neck, a huge factor in creating the exceptional tone, attack, sustain, release and damping (tightness) of a U.S. Masters. Graphite Reinforcement bars further stiffen the neck and help keep the neck rigid for players who tune down, even a 4th! Intonation is improved on the EP5J bass guitar because the neck can be set very close to flat - the distance between frets is not reduced due to the relief curvature of the neck. Easy Access truss rod adjustment at the heel. The EP5J is lightweight without compromising low-end. It has exceptional B string response and balance, and straight-line Minimum Friction headstock geometry.
The EP5J's custom-designed US Masters Soapbar pickup set provides a broad frequency response to deliver the exceptional acoustic qualities of the bass, and its proprietary Passive MultiVoice Electronics have diverse tone options.
US Masters unique Extended Uniform Neck Profile is more bio-mechanically efficient - players say it reduces fatigue, improves technique. The patented Contoured Flex Neck Reinforcing Truss Rod System provides a lower action with a more consistent, uniform height along the entire neck. The 35" scale offset compound radius 5-string - a unique design that plays so much easier than other 5-strings, you'll never go back. Well-balanced, lightweight design.
Additional features include the finest quality woods and components used throughout, custom-made in the USA Pro-Series Top-Load bridge with improved tone over high mass bridges, premium Sperzel Precision Locking tuning machines for long life, improved tuning and to maintain pitch without slipping, and Graph Tech Trem Nut for improved tuning and pitch stability.
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