Audio specializes in high-quality, hand-built vacuum tube recording
equipment and electronics designed for amplifying stringed instruments.
Since 1988, our Preamp
Systems for Acoustic Instruments
the choice of musicians worldwide who are serious about their
sound - both on stage and in the studio. In 1998, we debuted
a line of class
A tube mic preamps and dynamics processors, which have quickly become modern classics.
All the information about our entire product line can be found
here. If you have any technical questions, please call Greg Gualtieri
at (908) 665-9333.
Awarded the PAR Excellence
Award for 2006 at AES!
The PL-2 is a stand-alone two channel version of the
very popular solid-state peak limiter in the Quartet II. It uses
a novel approach to brickwall limiting, one that is fast enough
to prevent digital overs in the analog domain. Tame those unruly
transients without messing up the rest!
Read the product
Read the press release
| The Quartet II is not an update
nor a replacement for our very popular Quartet. It is
a complementary unit that incorporates a substantially different
combination of elements. Designed with the input of Fletcher
of Mercenary Audio, many additional options have been provided
to tailor the texture of the audio character for maximum musical
flexibility. Designed as an all-purpose recording tool, the Quartet
II combines four elements - Dual transformer Mic/DI preamp, Delta-mu
compressor, Passive/Aggressive Inductor EQ and two mode JFET/MOSFET
Peak Limiter - into a fully integrated package that makes it
easy to process any source. In addition, the
Mic/DI, EQ, Compressor, or Peak Limiter can be patched out and
used independently. It also has transformerless or transfomer-balanced
outputs. It received the PAR Excellence Award for 2003.
|| The Quartet is an all-purpose recording tool designed
with the ultimate in sound quality and flexibility in mind. We
have combined four elements - the tube Mic/DI preamp from the
MDP-1, the tube Opto-compressor from the OCL-2 enhanced with
a new opto-inductive De-esser, and a new 3 band tube EQ - into
a fully integrated package that it makes it easy to track any
source. In addition, the Mic/DI, EQ or Compressor/De-esser can
be patched out and used independently. The Quartet features an
all-tube signal path, and transformerless or transfomer-balanced
outputs. It received both the PAR Excellence Award and EQ Blue
Ribbon Award for 2001.
Tube Mic/DI Preamp
The ultimate front end for critical recording applications,
the MDP-1 features an all-tube short signal path with a transformerless
output stage capable of delivering +35dBu. The all-tube DI circuit
is entirely transformerless. The MDP-1 is biggest-sounding preamp
you've ever heard, and is the ideal way to cut world-class tracks
in your project studio.
Electro-Optical Tube Compressor/Limiter
The OCL-2 delivers smooth dynamics processing without
coloration, using a proprietary (very fast!) electro-optical
gain control element in the input circuit of an all-tube, transformerless
line amp capable of delivering +35dBu. It features adjustable
compression ratio, three sidechain modes (fast, presets, or manual),
and can be linked for stereo operation. It's the ideal choice
for 'invisible' dynamics processing, either for tracking or program
compression. Also a great mastering compressor!
Cutoff Tube Limiter
The ES-8 possess the classic
compression profile of the vintage Fairchild 660 and 670 limiters,
but implemented in a modern low noise, wide bandwidth circuit.
It uses a remote-cutoff triode as the gain control element, in
a more accurate, less colored signal path tha vintage designs.
The ES-8 uses a tube with the same compression characteristics
as the 6386 tube in the Fairchild limiter, but with extended
bandwidth . If you're looking for tube compression with a lot
of character, especially on a mix, this is the one you've got
Cutoff Tube Limiter
The 6386 Limiter uses the same
gain reduction tube as the Fairchild 660 and
670 limiters, but implemented in a modern low noise, wide bandwidth
circuit. Although the 6386 is not in full production (due to
tube availability), we still build them on a custom basis when
we have procured a good set of tubes. We currently have one new
6386 Limiter for sale. Please contact us for more information.
Preamp System For Acoustic Instruments
The SPS-1 Stereo Preamp System for Acoustic Instruments
is the world leader in sound quality and flexibility for processing
your acoustic instruments in true stereo. With two channels of
fully parametric EQ and studio-quality mic preamps, the SPS-1
can easily adapt to any combination of instrument pickups, internal
mics, or external mics. Pendulum preamps are used by James Taylor,
Leo Kottke, Bob Dylan, David Wilcox and many other acoustic players
who care about their sound.
Mastering Engineers Choose
the OCL-2 and ES-8
Greg Calbi at Sterling
Sound in New York recently acquired an ES-8 Limiter and OCL-2
Opto-Compressor for his room in Sterling's new Chelsea Market
location. After auditoning compressors for some time, Greg decided
on the ES-8, and immediately put it to work when mastering the
new release by Branford Marsalis. A few weeks later, he auditioned
the OCL-2 and it too has become a mainstay in his analog mastering
chain. I had a chance to spend some time with Greg listening
in his room, and it's a real treat.
Alan Yoshida at Ocean
Way Mastering in Los Angeles has been using the OCL-2 and ES-8
in his room for several months with great results. Alan, known
lovingly as a very picky tweakhead of the highest order, did
not have any compressors in his room for several years. After
knowing Alan for quite some time, I finally got him to break
down and give the OCL-2 and ES-8 a listen. He and I assumed he'd
send at least one back, if not both. Much to my surprise, he
called to say that "Since the boxes got thrown away, I'll
have to keep them both". Anyone who knows Alan would recognize
this as high praise! See the compressors in his custom console
at the link below.
Dave Collins at Collins
Mastering in Los Angeles, who has used our 6386 limiter for several
years (both at Marcussen Mastering and in his new room), has
added an OCL-2 to his analog chain. He was bit skeptical about
using an opto on a mix, but was convinced by Brad Blackwood to
try it. It's been an integral part of his chain ever since. Since
Dave is a guy whose ears are legendary, and he designs and builds
his own gear, I'm gratified that the 6386 and OCL-2 have his
seal of approval!
Brad Blackwood at Euphonic
Masters in Memphis was looking for a compressor to add some 'spank'
to mixes, adding a bit of color but keeping it clean. He chose
the OCL-2 for the job, to complement his Crane Song STC-8. Brad
says, "I've been looking for that magical 'snappy'
device that could pleasantly color program but wasn't just a
'color box' and this is it. Sweet job, Greg - I love it!!!"
Dave McNair at Unity
Mastering in New York recently added an OCL-2 to his mastering
room. His partner Dave Snyder at Jarvis Recording has been using
the OCL-2 for tracking with great results, and they were equally
impressed on what it could do on a mix. Dave says, "
It's a rare track that doesn't get some amount of "goodness"
on its way through that baby. One of the things that I find great
about the OCL-2, is how so many settings are useable. Most compressors
have one or two settings that do what they do and any claim of
versatility is usually minor. I've found your design to have
superior sonics AND many very desirable control options."
© 2006 Pendulum Audio,
Inc. All rights reserved.