{"title":"Mercury Recording Equipment","description":null,"products":[{"product_id":"mercury-recording-equipment-m76m-c01","title":"Mercury Recording Equipment M76m","description":"\u003cp\u003e\n\tFirst, Mercury Recording Equipment Co. successfully recreated the original V72s with the highly regarded Mercury M72s. Now, with the Mercury M76m, we have brought to life the V72s' \"big brother\" - the V76. The Mercury M76m is a recreation of the original German designed Telefunken \/ Siemens amplifier module used in many European broadcast and recording desks. The V76 modules, however, are more well known as an outboard rack mounted preamp and are highly sought after by studios and engineers all over the world. Of all the V76 amplifiers, the \"V76m\" has always been the most desired because of its useful variable gain control, (as well as no filters intended for broadcast use). Original V76 modules have not been available new for 40 years and working vintage units have become extremely rare and expensive. Furthermore, due to its overly compact modular design, the V76 modules are now, after four decades, not as mechanically sound as they once were which causes problems sonically.\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\tWith that in mind, Mercury Recording Equipment Co. has recreated the transformer balanced, four tube per channel, high gain amplifier. Keeping the integrity of the original circuit, the M76m has open, warm tonality. After many years in development, Mercury has now built what is quite possibly the ultimate combination of vintage sound and modern features.\u003cbr\u003e\n\t\u003cbr\u003e\n\tWe made it first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Which was successful, by drawing on years of experience, repairing, rebuilding, and most importantly listening to the Telefunken \/ Siemens V76 modules. We did not stop there, however. Mercury took it one step farther than a \"recreation\". Using our years of professional service and taking note of what modifications and features the professional recording engineers wished their original V76 modules had Mercury added a few new features that the original studio microphone amplifiers and even the best \"vintage\" reracks never had.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe Mercury M76m has an Impedance Select switch for both high and low impedance devices. Secondly, a Level Control (which will work as a fader as well as add another 6dB (+ \/ -) from the second stage amplifier) and a Output Attenuation control (-0 to -10dB) has been added for even more control, including the ability to overdrive the amplifier in several different ways, if desired. The Gain control is 0 to +60dB in 6dB increments, that works in conjunction with the Level control and Output Attenuation Control. Also, all the staple features one expects from a modern piece of equipment were added: Phantom power, Phase Reversal (Polarity) , and an amazing sounding direct input on each channel. The M76m is truly a new classic for today as well as the benchmark in Studio Microphone Amplifiers for the next 50 years!\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003cstrong\u003eFAQ: Mercury M72s vs. M76m, Whats the difference?\u003c\/strong\u003e\u003cbr\u003e\n\t\u003cbr\u003e\n\tFirst: Both are multipurpose tools for making music. But if you were to have both or only one application that you have a need for, they do sound different.\u003cbr\u003e\n\t\u003cbr\u003e\n\tTone: The Mercury \u003ca class=\"link\" href=\"http:\/\/mercuryrecordingequipment.com\/m72.html\"\u003eM72s\u003c\/a\u003e is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe M76m is warm, open and airy. Compared to the M72s the M76m is overall more evenly \"EQ'ed\". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass and Guitars (you have amazing control on the amplifier's tone) as well the M76m opens up your Room and Over Head mics. With 72dB (+\/-) of total gain and choice High and Low Input Impedance - Ribbon mics are big and open with the M76m.\u003cbr\u003e\n\t\u003cbr\u003e\n\tGain: M72s has 58dB and the M76m has about 72dB. The M76m has 60dB input gain, +6dB (+\/-) with your Level Control and +6dB with Low impedance selected.\u003c\/p\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46168075338011,"sku":"M76MDUAL","price":7598.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10039650.jpg?v=1692023121"},{"product_id":"mercury-recording-equipment-eq-p1-pultec-style-program-equalizer-c01","title":"Mercury Recording Equipment EQ-P1 PULTEC-Style Program Equalizer","description":"\u003cp\u003e\n\tPultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed!\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches.\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\tMercury Recording Equipment Co. is committed to recreating every magical nuance of the original in a modern production. The goal was that the Mercury EQ-P1 Program Equalizer would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply.\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\tThe Mercury EQ-P1 has transformer balanced input and output, with a fully balanced (push-pull) gain make up amplifier. Our new Mercury production utilizes only the highest quality passive components, while remaining true to the original production.\u003c\/p\u003e\n\u003cp\u003e\n\tThe only modernization feature on the unit is a user switchable (in\/out) interstage transformer. In the original Pultec EQP this transformer was always in the signal path, however, realizing that some of today's engineers might want to remove it with the Mercury EQ-P1 Program Equalizer it is possible to do so with I.S.T. (Interstage Input Transformer) in\/out switch, below the EQ in\/out switch on the front panel. This takes the middle (interstage) transformer out of the circuit. Down, in the \"in\" position, it is more \"vintage\" like the original Pultec. Up, in the \"out\" position, it is a little more \"open\" and \"airy\" on the top. Either way, the input and output transformers are always in the circuit.\u003c\/p\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\t\u003cdiv\u003e\n\t\t\tLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz\u003c\/div\u003e\n\t\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tLow Frequency Boost Control: Shelf Boost, 0dB to +13dB\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tHigh Frequency Bandwidth Control: Sharp to Broad\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tHigh Frequency Select (KCS): 2, 3, 4, 5, 6, 8, 10, 12, 16k\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tHigh Frequency Boost Control: Shelf Boost, 0dB to +18dB\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tHigh Frequency Shelf Attenuate Select: 5, 10, \u0026amp; 20k\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tHigh Frequency Attenuate Control: Shelf Attenuate, 0dB to +16dB\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\t \u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\t \u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\t\u003cimg alt=\"\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/title_faq_eqheqp.gif\"\u003e\u003cbr\u003e\n\t\t\u003cbr\u003e\n\t\tThe Mercury \u003ca class=\"link\" href=\"http:\/\/mercuryrecordingequipment.com\/eqh.html\"\u003eEQ-H1\u003c\/a\u003e has a different amplifier than the Mercury \u003cb\u003eEQ-P1\u003c\/b\u003e thus it has a different tone. Meaning the \u003cb\u003eEQ-H1\u003c\/b\u003e and \u003cb\u003eEQ-P1\u003c\/b\u003e sound different on the same application.\u003cbr\u003e\n\t\t\u003cbr\u003e\n\t\tThe key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\n\t\t\u003cbr\u003e\n\t\tThe \u003cb\u003eEQ-H1\u003c\/b\u003e is more punchy and robust and the \u003cb\u003eEQ-P1\u003c\/b\u003e is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury \u003cb\u003eEQ-H1\u003c\/b\u003e is warm and fluid but a bit \"thicker\" than the \u003cb\u003eEQ-P1\u003c\/b\u003e, thus the \u003cb\u003eEQ-H1\u003c\/b\u003e shines on Thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury \u003cb\u003eEQ-P1\u003c\/b\u003e is great for Shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003c\/li\u003e\n","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46168075436315,"sku":"MEQP1","price":3599.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":47318330442011,"sku":"MEQP1EBAYPRO","price":2666.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10039660.jpg?v=1692023134"},{"product_id":"mercury-recording-equipment-eq-h1-pultec-style-program-equalizer-c01","title":"Mercury Recording Equipment EQ-H1 MK IV PULTEC-Style Program Equalizer","description":"\u003cp\u003e\n\tPultec Equalizers are some of the rarest and most sought after studio tools in the industry today. Engineers lucky enough to be able to work with them find their musicality and warm tonality extremely important to their studio's \"sound.\" The simple beauty of these EQs is unsurpassed!\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe original Pultec equalizers were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. Pultecs were designed to bring back the life and musicality lost in the recording. Whether by accident or genius, nothing has been able to do it better. The interaction of the passive boosting and attenuating shelving eqs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec as the equalizer of choice for those final touches.\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\tMercury Recording Equipment Co. is committed to recreating every magical nuance of the original in a modern production. The goal was that the Mercury EQ-H1 Program Equalizer would add that magic touch to music like the original, we achieved that goal. Mercury has tried to keep all elements in line with the original designer's ideas with only minor improvements. Adding a couple of extra frequencies for more flexibility and we use DC on the heaters (of the tubes) rather than AC for better performance as well as a new very quiet and stable power supply.\u003c\/p\u003e\n\u003cp\u003e\n\tThe Mercury EQ-H1 has transformer balanced input and output, with a single ended gain make up amplifier. The EQ-H's passive EQ\/gain make up amp topology provides a musically satisfying result unobtainable with active and parametric EQs, since it does not rely upon negative feedback (and all it's associated phase and dynamic distortions) to achieve equalization.\u003c\/p\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\t\u003cdiv\u003e\n\t\t\tLow Frequency Select (CPS): 20, 30, 60, 100, 200 Hz\u003c\/div\u003e\n\t\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tLow Frequency Boost Control: Shelf Boost, 0dB to +13dB\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tHigh Frequnecy Select (KCS): 3, 4, 5, 8, 10, 12, 16 kHz\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tHigh Frequency Boost Control: Shelf Boost, 0dB to +16dB\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003c\/p\u003e\u003cli\u003e\n\t\tHigh Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16dB\u003c\/li\u003e\n\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003cbr\u003e\n\tMERCURY RECORDING EQUIPMENT has gone to great lengths to recreate the pride and passion of the past, both sonically and aesthetically, while offering the reliability of a present day production. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would \"they\" have done it today?\u003cbr\u003e\n\t\u003cbr\u003e\n\tMercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. . The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\t\u003cimg alt=\"\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/title_faq_eqheqp.gif\"\u003e\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe Mercury \u003cb\u003eEQ-H1\u003c\/b\u003e has a different amplifier than the Mercury \u003ca class=\"link\" href=\"http:\/\/mercuryrecordingequipment.com\/eqp.html\"\u003eEQ-P1\u003c\/a\u003e thus it has a different tone. Meaning the \u003cb\u003eEQ-H1\u003c\/b\u003e and \u003cb\u003eEQ-P1\u003c\/b\u003e sound different on the same application.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe key to the tone of the Pultec circuit is the amplifier, being that the EQ section is passive.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe \u003cb\u003eEQ-H1\u003c\/b\u003e is more punchy and robust and the \u003cb\u003eEQ-P1\u003c\/b\u003e is more open and silky. Although both sound amazing on any application and they are both multi-purpose tools (equalizers) in the studio, if you had both you could then pick and choose between applications. The Mercury \u003cb\u003eEQ-H1\u003c\/b\u003e is warm and fluid but a bit \"thicker\" than the \u003cb\u003eEQ-P1\u003c\/b\u003e, thus the \u003cb\u003eEQ-H1\u003c\/b\u003e shines on Thickening vocals, Bass, Kick, Snare, and Guitar etc... The Mercury \u003cb\u003eEQ-P1\u003c\/b\u003e is great for Shaping vocals, Acoustic instruments, Guitar, Piano etc...\u003c\/p\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46168075632923,"sku":"MEQH1","price":3298.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/MEQH1_1.jpg?v=1692023131"},{"product_id":"mercury-recording-equipment-m72s-1-m72s1","title":"Mercury Recording Equipment M72s\/1","description":"\u003cp\u003eIn the mid-sixties, at Abbey Road Studios legends were born. Not just the Beatles or George Martin, but also the REDD.37 recording desk that was used to record most of their earlier work. The very rare amplifiers used in that desk were called \"V72s\" and were a modified version of the standard Telefunken \/ Siemens V72 module.\u003cbr\u003e\u003cbr\u003eThe more common V72 amplifier modules were later modified and have been sold for many years as outboard preamplifiers all over the world. These V72 modules have not been available new for 40 years, and working units have become extremely rare and expensive. It is the uniquely musical tonal characteristics of these preamps have made them the prized possession of many engineers lucky enough to get the vintage modules, and a \"secret weapon\" for many studio musicians. With that in mind, Mercury Recording Equipment has made a faithful reproduction in the M72s -- not only of how the units behave, but of how they SOUND overall. The addition of pad, phase, phantom and gain controls make it even more versatile without sacrificing the most important feature: Musicality.\u003c\/p\u003e\n\u003cp\u003eThe most sought after Telefunken\/Siemens \"V series\" modules are famous for being used in Abbey Road's REDD.37 consoles. These amplifiers were called \"V72s\" and were a modified version of the standard V72 modules that were much more common. Unlike those vintage modules that had fixed gain, The V72 at 34dB, and the \"V72s\" at 40dB, the Mercury M72s has variable mic gain from 28dB to 58dB. Also, with the M72s, you have a selectable input pad of -16dB or -28dB for even more control. When the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run line level signal through the M72s. This will provide a warm, rich path for mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: 48V DC (Phantom), Phase Reverse (Polarity) and Direct Input for Bass or Electric Guitar per channel. The Mercury M72s has the rich lows and punchy mids that the vintage V72 modules have but a more open high end. The Mercury M72s Studio Microphone Amplifier has that \"vintage\" tone and \"break up\" like the original modules but it is a bit more musical over all (not cleaner... more musical, there is a huge difference).\u003cbr\u003e\u003cbr\u003eThe Mercury M72s brings that \"vintage\" magic back! It is truly a new classic for today as well as for the next 50 years!\u003c\/p\u003e\n\u003cp\u003eMercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound!\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFAQ: Mercury M72s vs. M76m, Whats the difference?\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eFirst: Both are multipurpose tools for making music. But if you were to have both or only one application that you have a need for, they do sound different.\u003cbr\u003e\u003cbr\u003eTone: The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications.\u003cbr\u003e\u003cbr\u003eThe M76m is warm, open and airy. Compared to the M72s the M76m is overall more evenly \"EQ'ed\". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass and Guitars (you have amazing control on the amplifier's tone) as well the M76m opens up your Room and Over Head mics. With 72dB (+\/-) of total gain and choice High and Low Input Impedance - Ribbon mics are big and open with the M76m.\u003cbr\u003e\u003cbr\u003eGain: M72s has 58dB and the M76m has about 72dB. The M76m has 60dB input gain, +6dB (+\/-) with your Level Control and +6dB with Low impedance selected.\u003c\/p\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46168075731227,"sku":"M72S1","price":2998.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10039680.jpg?v=1692023134"},{"product_id":"mercury-recording-equipment-m72s-c01","title":"Mercury Recording Equipment M72s","description":"\u003cp\u003e\n\tIn the mid-sixties, at Abbey Road Studios legends were born. Not just the Beatles or George Martin, but also the REDD.37 recording desk that was used to record most of their earlier work. The very rare amplifiers used in that desk were called \"V72s\" and were a modified version of the standard Telefunken \/ Siemens V72 module.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe more common V72 amplifier modules were later modified and have been sold for many years as outboard preamplifiers all over the world. These V72 modules have not been available new for 40 years, and working units have become extremely rare and expensive. It is the uniquely musical tonal characteristics of these preamps have made them the prized possession of many engineers lucky enough to get the vintage modules, and a \"secret weapon\" for many studio musicians. With that in mind, Mercury Recording Equipment has made a faithful reproduction in the M72s -- not only of how the units behave, but of how they SOUND overall. The addition of pad, phase, phantom and gain controls make it even more versatile without sacrificing the most important feature: Musicality.\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp\u003e\n\tThe most sought after Telefunken\/Siemens \"V series\" modules are famous for being used in Abbey Road's REDD.37 consoles. These amplifiers were called \"V72s\" and were a modified version of the standard V72 modules that were much more common. Unlike those vintage modules that had fixed gain, The V72 at 34dB, and the \"V72s\" at 40dB, the Mercury M72s has variable mic gain from 28dB to 58dB. Also, with the M72s, you have a selectable input pad of -16dB or -28dB for even more control. When the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run line level signal through the M72s. This will provide a warm, rich path for mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: 48V DC (Phantom), Phase Reverse (Polarity) and Direct Input for Bass or Electric Guitar per channel. The Mercury M72s has the rich lows and punchy mids that the vintage V72 modules have but a more open high end. The Mercury M72s Studio Microphone Amplifier has that \"vintage\" tone and \"break up\" like the original modules but it is a bit more musical over all (not cleaner... more musical, there is a huge difference).\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe Mercury M72s brings that \"vintage\" magic back! It is truly a new classic for today as well as for the next 50 years!\u003c\/p\u003e\n\u003cp\u003e\n\tMercury Recording Equipment Co. products are hand wired and\/or assembled using silver solder and no-compromise parts. All Mercury products are transformer balanced, inputs and outputs and there are no I.C.s (chips) in the signal path. The chassis and front panels have a very distinctive \"vintage\" look with custom powder coating finish. They look as good as they sound! \u003ca class=\"link\" href=\"http:\/\/mercuryrecordingequipment.com\/downloads.html\" title=\"Mercury M72s Data Sheets, Recall Sheets\"\u003eMercury M72s Downloads\u003c\/a\u003e\u003cbr\u003e\n\t\u003cbr\u003e\n\t\u003cimg alt=\"SPECIFICATIONS\" height=\"28\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/topper_specs.gif\" width=\"355\"\u003e\u003c\/p\u003e\n\u003ctable border=\"0\" cellpadding=\"0\" cellspacing=\"0\" style=\"border: 1px solid rgb(198, 198, 196); background-color: rgb(255, 255, 255); width: 348px; line-height: 13px;\"\u003e\n\t\u003ctbody\u003e\n\t\t\u003ctr style=\"background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd width=\"100\"\u003e\n\t\t\t\t\u003cb\u003eMic Input Impedance:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\tApprox. 2k\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cb\u003eSuggested Source Impedance:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\tApprox. 200 ohms\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cb\u003eInput Impedance with \u003cnobr\u003e-28dB Pad:\u003c\/nobr\u003e\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\tApprox. 4k\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cb\u003eDI Input Impedance:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t2M ohms\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cb\u003eInternal Output impedance:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t30-50 ohms (depends on gain setting)\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cb\u003eSuggested Minimum Load:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t500 ohms\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cb\u003eMax. Mic Signal Input Level (@ 20 Hz):\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t+34dBu with -28dB Pad engaged \/ +6dBu with Pad not engaged\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cb\u003eMax. Output Level:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t+22dBu\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr style=\"background-color: rgb(245, 240, 220);\"\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cb\u003eFrequency response:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t20 Hz to 20 kHz +\/- 0.5dB\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\t\u003ctr\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cimg alt=\"\" height=\"1\" src=\"http:\/\/mercuryrecordingequipment.com\/img\/px_cl.gif\" width=\"3\"\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t\u003cb\u003eHarmonic Distortion:\u003c\/b\u003e\n\u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\t  \u003c\/td\u003e\n\t\t\t\u003ctd\u003e\n\t\t\t\tAll musically related low orders of harmonics, with no significant order above 5th. \u003ca class=\"extralink\" href=\"http:\/\/mercuryrecordingequipment.com\/popper_info_thd.html\"\u003emore info\u003c\/a\u003e\n\u003c\/td\u003e\n\t\t\u003c\/tr\u003e\n\t\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\n\t\u003cstrong\u003eFAQ: Mercury M72s vs. M76m, Whats the difference?\u003c\/strong\u003e\u003cbr\u003e\n\t\u003cbr\u003e\n\tFirst: Both are multipurpose tools for making music. But if you were to have both or only one application that you have a need for, they do sound different.\u003cbr\u003e\n\t\u003cbr\u003e\n\tTone: The Mercury M72s is warm and punchy. The M72s has a thick bottom end, a great push in the mid range and a open airy top end. The M72s performance great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications.\u003cbr\u003e\n\t\u003cbr\u003e\n\tThe \u003ca class=\"link\" href=\"http:\/\/mercuryrecordingequipment.com\/m76.html\"\u003eM76m\u003c\/a\u003e is warm, open and airy. Compared to the M72s the M76m is overall more evenly \"EQ'ed\". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass and Guitars (you have amazing control on the amplifier's tone) as well the M76m opens up your Room and Over Head mics. With 72dB (+\/-) of total gain and choice High and Low Input Impedance - Ribbon mics are big and open with the M76m.\u003cbr\u003e\n\t\u003cbr\u003e\n\tGain: M72s has 58dB and the M76m has about 72dB. The M76m has 60dB input gain, +6dB (+\/-) with your Level Control and +6dB with Low impedance selected.\u003c\/p\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46168075796763,"sku":"M72S","price":5248.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/M72S-0.jpg?v=1692023137"},{"product_id":"mercury-recording-equipment-m66-240v-limiting-amplifier-c01","title":"Mercury Recording Equipment M66-240V Limiting Amplifier","description":"\u003cp\u003e\n\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eMercury Recording Equipment M66-240V Limiting Amplifier\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\tThe Mercury 66 is an all tube and all transformer, fully-balanced variable-bias limiting amplifier. The most sought after product in this genre has been the legendary Fairchild 660. Which is recognized as an essential tool for making great recordings. Many manufacturers have tried to copy the Fairchild but have failed to capture the sonic essence. Until now.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Mercury 66 Limiting Amplifier is, as true as possible, a recreation of the classic Fairchild limiters-- using parts that are available today-- and meets all of the original specifications. But more importantly, it SOUNDS like a Fairchild 660. When using the Mercury M66 music, program material and instrumentation reacts the same as a Fairchild 660 does.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Mercury 66 Limiting Amplifier uses a single push-pull stage of amplification (transformer coupled in\/out, no capacitors in the signal path) with a high control voltage. The result: the unit never produces any audible thumps, and has low distortion and noise under all conditions (either as a limiter or straight through amplifier). The Control amplifier is also fully balanced, transformer coupled In and Out. The Mercury 66 makes use of a very stable high current vacuum tube voltage regulator. It has ample and accessible input, threshold, attack, release time and metering controls allowing for convenience in the control room when making adjustments. The attack time is very fast and catches short transients. The release time of .3 to 25 seconds provides real flexibility: Three positions of the six available make the release time a function of program material, with fast recovery peaks and overall reduction of program level should the program level remain high. It can be used as a limiter or compressor. For example, use it as a 2 to 1 ratio compressor with a threshold 5 dB below average level, or as a peak limiter with a 20 to 1 ratio with threshold 10 dB above normal program level, or anywhere between these extremes. The attack and release times are the same as the original Fairchild 660.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tOne notable change on the Mercury 66 is the DC Adjust control. On an original Fairchild 660 this was called DC Threshold and was on the rear of the unit (not accessible from front panel). We put that control on the front panel and labeled it DC Adjust to not confuse the Threshold function. The DC Adjust lets you control DC (Direct Current) in part of the circuit to give the user more control. You are able to control how the amplifier reacts to the audio signal coming in. By turning the DC Adjust to the far left (counter clockwise) the M66 acts more like a 'compressor' and to the far right (clockwise) the M66 acts more like a 'limiter'. But the best thing about this feature is you can find that sweet spot in-between. We like to think of this as the 'magic knob' as do a lot of our users.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Mercury 66 Limiting Amplifier is built to be a new classic and to be your go-to compressor for the next 50 years!\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tM66 Users Include: Billy Corgan (Smashing Pumpkins), Rhett Lawrence (Kelly Clarkson, Christina Aguilera), Devin Powers (Devin Powers Music, Movie and TV Scores), Scott Humphrey (Rob Zombie, Motley Crue, Bon Jovi), John McBride (Black Bird Studios and Rentals, Martina McBride) and Manny Marroquin, who has used his M66 on mixes for many Gold and Platinum Artists including: Alicia Keys, Brandy, Janet Jackson, Monica, Nikka Costa and MANY others!\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\t\u003cstrong\u003eThe M66 performance features include:\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\tExceptional tone and musical focus\u003c\/div\u003e\n\u003cdiv\u003e\n\tAbsence of audible thumps, distortion or noise\u003c\/div\u003e\n\u003cdiv\u003e\n\tExtremely fast attack time that can produce full limiting in 1\/5000th of a second\u003c\/div\u003e\n\u003cdiv\u003e\n\tVariable release time from .3 seconds to 25 seconds\u003c\/div\u003e\n\u003cdiv\u003e\n\tUseful as a limiter or a compressor depending on the program material and control settings\u003c\/div\u003e\n\u003cdiv\u003e\n\tReliability and stability (All components operate well below their rated maximums)\u003c\/div\u003e\n\u003cdiv\u003e\n\tAll tube, fully balanced (push-pull) transformer coupled circuitry\u003c\/div\u003e\n\u003cdiv\u003e\n\tSimple, easy to use controls.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tTransformers:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 600 ohm Input and Output\u003c\/div\u003e\n\u003cdiv\u003e\n\tGain:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 7 db (no limiting)\u003c\/div\u003e\n\u003cdiv\u003e\n\tFrequency response:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 40 Hz- 15 kHz +\/- 1 db\u003c\/div\u003e\n\u003cdiv\u003e\n\tNoise:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e = -74 dB below OdBm\u003c\/div\u003e\n\u003cdiv\u003e\n\tTHD:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e = \u0026lt; 1%\u003c\/div\u003e\n\u003cdiv\u003e\n\tCompression Ratio:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 1:1 to 1:20\u003c\/div\u003e\n\u003cdiv\u003e\n\tAttack Time:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 0.2, 0.4, 0.8 ms\u003c\/div\u003e\n\u003cdiv\u003e\n\tRelease Time:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e 0.3, 0.8, 2 sec, 5 sec, auto 1, auto 2\u003c\/div\u003e\n\u003cdiv\u003e\n\tTubes:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e (1) 6BC8, (2) 6V6, 12BH7, 12AX7, EL34, GZ 34, 5751\u003c\/div\u003e\n\u003cdiv\u003e\n\tControls:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e   \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e Input Gain, AC Threshold DC Adjust, Metering, Zero (Trim), Balance (Trim), Attack\/Release andStereo Link\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tAll Mercury Recording Equipment Co. products pass the standard U.Y.E.Test. We feel this is the best and most highly regarded test procedure. We go to great lengths to make sure we pass this important test by using quality components, NOS tubes where we can and U.S. and U.K. audio transformers on every input and output of our recording equipment. (U.Y.E. = Use Your Ears)\u003c\/div\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46168301535515,"sku":"M66-240V","price":9898.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mercury-recording-equipment-M66-240V-0.jpg?v=1692024617"},{"product_id":"mercury-eqp2-studio-program-equalizer-c01","title":"Mercury EQP2 Studio Program Equalizer","description":"\u003cp\u003e\n\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eMercury EQP2 Studio Program Equalizer (New 2011)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cdiv\u003e\n\tThe Mercury EQ-H1, EQ-P1, EQ-H2 and EQ-P2 are all based on the original Pultec equalizers which were tools developed to deal with the limitations of recorded music. Limitations that most often manifest themselves in the highest and lowest frequencies of the program material. The Mercury Studio Program Equalizers, like the family of original Pultec EQs, are originally designed to bring back the life and musicality lost in a recording. Whether by accident or genius, nothing has been able to do this better in music production than a passive equalizer with tube gain make up amplifier (‘Pultec style’) equalizer. The interaction of the passive boosting and attenuating shelving EQs (not relying on negative feedback), as well as the transformers, tubes and other amplification circuitry all add to the incredibly musical character of the product. Working engineers try other types of equalizers, but always end up coming back to the Pultec style as the equalizer of choice for those final touches while tracking or mixing and even mastering at times.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tNow in this modern age of digital recording, where the source you put into the DAW is exactly what you have on the track, with no rounded edges, no slight compression and none of the “pixie dust” that came with analog tape, the Mercury family of equalizers are needed more than ever to help add the musicality, warmth and tone to your tracks that we have all treasured.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tI used the EQ-P1 and EQ-H1 extensively in mixing scenarios, and they performed like champs. I was able to dial in silky top-end on vocals and acoustic guitars and beefy lows on kick drums and mic'd bass cabinets with truly 'pro' results. There were many times when i hit upon a certain setting and found it was 'that sound' I had heard for years on 'that famous record' that didn't seem possible to get with 'other gear'. These EQs are so perfectly geared to music that - even with extreme settings - it's hard to get bad results with them.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tPete Weiss, TapeOp Magazine\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tFrequencies\u003c\/div\u003e\n\u003cdiv\u003e\n\tLow Frequency Select (CPS; Cycles per second): 20, 30, 60, 100, 200 Hz\u003c\/div\u003e\n\u003cdiv\u003e\n\tLow Frequency Boost Control: Shelf Boost, 0dB to +13dB\u003c\/div\u003e\n\u003cdiv\u003e\n\tLow Frequency Attenuate Control: Shelf Atten. 0dB to -17dB\u003c\/div\u003e\n\u003cdiv\u003e\n\tHigh Frequency Select (KCS; kilocycles per second ): 3, 4, 5, 8, 10, 12, 16 kHz\u003c\/div\u003e\n\u003cdiv\u003e\n\tHigh Frequency Boost Control: Shelf Boost, 0dB to +16dB\u003c\/div\u003e\n\u003cdiv\u003e\n\tHigh Frequency Attenuate Control: 10k Shelf Attenuate, 0dB to -16dB\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tTubes:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e  \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e1x 12AX7 and 1x 12AU7\u003c\/div\u003e\n\u003cdiv\u003e\n\tRack Size:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e  \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e3U\u003c\/div\u003e\n\u003cdiv\u003e\n\tWeight:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e  \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e22 lbs.\u003c\/div\u003e\n\u003cdiv\u003e\n\tShipping size:\u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e  \u003cspan class=\"Apple-tab-span\" style=\"white-space:pre\"\u003e \u003c\/span\u003e25” x 19” x 10”\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tEQ-H1 vs EQ-P1:\u003c\/div\u003e\n\u003cdiv\u003e\n\tSimply, the key to the tone of these two circuits is its amplifier, and Mercury EQ-H1 and EQ-P1 have different amplifiers to make up the gain lost by the passive equalizer circuit, thus it has a different tone. Meaning the EQ-H1 and EQ-P1 sound different on the same application, and have a different reaction to the same instrumentation or voice.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe EQ-H1 is more punchy and robust and has a slight push in the low end and lower midrange. The EQ-P1 is more open and silky, and equally adds warm to highs, mids and lows of your source. Although both sound amazing on any application and are both multi-purpose tools (equalizers) in the studio, if you had both you could then choose between applications.\u003c\/div\u003e\n\u003cdiv\u003e\n\t \u003c\/div\u003e\n\u003cdiv\u003e\n\tThe Mercury EQ-H1 is warm and fluid but a bit \"thicker\" than the EQ-P1, thus shines on thickening (and pushing forward in the mix) your Vocals, Bass, Kick, Snare, and Acoustic Guitar etc... The Mercury EQ-P1 is great for Shaping and adding ‘air’ to your vocals, Acoustic instruments, Guitar, Piano etc... and is magical strapped across your two buss to add musicality to you mix.\u003c\/div\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46168302256411,"sku":"EQP2","price":7498.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mercury-recording-equipment-EQP2-0.jpg?v=1692024620"},{"product_id":"neumann-bcm705-broadcast-microphone-bcm705-c01","title":"Neumann BCM 705 Broadcast Dynamic Microphone Small Diaphragm Hypercardioid","description":"\u003cp\u003eThe first Neumann microphone with a dynamic capsule. Functionally optimized design specifically for the broadcast field, featuring integrated pop protection, suppression of structure-borne noise and a hypercardioid directional characteristic. Emotion conveyed with technical perfection. This is the ideal which the Neumann microphones in the Broadcast Line have been designed to fulfill. The fine-tuning to the requirements of professional broadcast studios and the individual, functionally optimized design* ensure that these are microphones of character.  The BCM 705 is Neumann’s first dynamic microphone. The housing and headgrille are identical to those of the BCM 104; only the green logo indicates that this is something new from Neumann. The principle of reduction to the essentials can be seen in the dynamic capsule with a hypercardioid directional characteristic, specifically designed for speech reproduction at close range. Multi-level isolation from structure-borne noise ensures operation free of interference, even in a lively studio environment.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMechanical Features\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe microphone headgrille twists off easily for quick cleaning. Neumann offers optional, color-coded headgrilles so that, for reasons of hygiene, each announcer can use his or her individual headgrille. The microphones of the Broadcast Line have an elastic mount against structure-borne noise, that is compatible with standard broadcast-segment microphone arms.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcoustic features\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe frequency response has a light treble boost, in the region from 2 kHz to 9 kHz, aiding the speech intelligibility. The bass frequency response is designed to compensate for the overemphasis of the bass caused by the proximity effect.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe integrated Pop Screen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA pop screen not only prevents the occurrence of plosive pop noises in vocal recordings, but also efficiently prevents unwanted particles, from respiratory moisture, nicotine, to food remnants, from settling on the diaphragm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMounting\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe preferred mode of operation is to suspend the BCM 104 or BCM 705 from a standard studio boom arm.  A thread adapter to fit different connector threads is included. In order to provide protection from structure-borne noise, both the capsule and the microphone in its mount are elastically suspended. The optional SG 5 swivel mount allows additional angling of the microphone by +\/-90 degrees. * The design of the microphone is a registered design of the Georg Neumann GmbH in certain countries.\u003c\/p\u003e","brand":"Neumann","offers":[{"title":"New | On Order","offer_id":46168550179099,"sku":"BCM705","price":729.0,"currency_code":"USD","in_stock":true},{"title":"Repack | On Order","offer_id":46168550244635,"sku":"BCM705RP","price":493.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/neumann-bcm705-broadcast-dynamic-microphone-small-diaphragm-hypercardioid.jpg?v=1692026349"},{"product_id":"mercury-recording-equipment-g810-rack-system-with-2-6a-psu-g810","title":"Mercury Recording Equipment G810 Rack System I with 2.6A PSU","description":"\u003ch2\u003eG810 Rack System Mercury D Series\u003c\/h2\u003e\n\u003cp\u003eMercury Recording Equipment Co. is debuting the Mercury D Series G810 Rack System, the first of many products in their new Mercury D Series Line. From the outside, you might think you have seen this product or something similar before, but there is more than meets the eye with the Mercury G810 Rack System. David Marquette and Mercury used a combination of 20 Years experience custom racking vintage modules and new, innovative features to completely reinvent the 500 Rack inside and out with the new, Mercury D Series G810 Rack System.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePowerful\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Mercury D Series G810 Rack System solves the biggest complaint for users of other '500 racks' in the marketplace, Lack of Power, especially when using products that are not built to the specifications of the '500' Standard. The products not built to that standard take more then their share of the power to work, which in turn causes problems with all other modules in the rack. This is not an issue with the Mercury D Series G810 Rack System.\u003c\/p\u003e\n\u003cp\u003eThe power specification for Mercury D Series G810 Rack System is much higher than the spec of the '500' Standard. Providing more power does not solve the power problems of '500' Racks, so, Mercury successfully designed a better Power Structure not just providing more amps\/watts. Mercury designed the Mercury Power Regulation Circuit as a solution to '500' Rack power problems. The Mercury Power Regulation Circuit is not only in the rack, it is on every channel of the rack offering individual regulation per channel. The Mercury D Series G810 Rack System is the first '500' Rack to have this feature and is why we feel this is not only a better rack but a better system overall. The Mercury Power Regulation Circuit allows each channel to be isolated from the channel next to it or any other channel in the rack, which will protect from faults or emissions from problematic modules. No module in the Mercury D Series G810 Rack System shares DC power with another module in the rack.\u003c\/p\u003e\n\u003cp\u003eIn addition of the Mercury Power Regulation Circuit, there is also the Mercury Soft Start Circuit featured in the Mercury D Series G810 Rack System as well. The Mercury Soft Start Circuit allows power to 'ramp up' slowly and will gradually and gently apply voltage to your expensive D Series or '500 Series' modules when you power up. This is better for your modules as well it reduces the danger to woofers that could be damaged with 'turn-on' thump when part of a larger system.\u003c\/p\u003e\n\u003cp\u003eIt might not be the first thing you think of when buying equipment, but the power for any recording device is the foundation of how it works. In Professional Audio a clean, regulated and abundant power supply affects the headroom of your Preamps, Equalizers and Compressor\/Limiters etc... Stable, Abundant, Isolated power simply allows your equipment to work better and avoids cross talk between channels. For example, If you have a rack full of 8 or 10 limiters for drums you are going to hear things distort sooner on peaks if there is not enough power in reserve. We have solved those issues with the Mercury D Series G810 Rack System, allowing you to concentrate on recording music, not calculating the amperage or total power you need in your rack.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRock Solid Construction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Mercury D Series G810 Rack System is simply built like a Tank. Featuring thick aluminum rack ears, and a durable steel chassis, for both strength and optimum shielding for internal electronics. Like all Mercury Recording Equipment Co. products, the Mercury D Series G810 Rack System is engineered to be reliable and look good in your studio but built to be road-worthy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFlexible\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOn the back panel of the Mercury D Series G810 Rack System - I there are Gold Pin XLRs (for Channels 1-10) and DB25 (DSUB) connectors for Channels 1-8 to give you choices of how you install your system. The Mercury D Series G810 Rack System - I is rack mountable but you can also use as a Table Top Rack as well. The Mercury D Series Line will have several choices of power supplies to be able to power a single rack or several in the future. The first is the Mercury D Series PSU-1. All Mercury D Series Power Supplies feature Studio Quality, Low Noise, Linear Power designed for Audio. The D Series PSU-1 Power supply is also rack mountable or can sit on the tabletop next to the rack or on the floor etc... You can also mount two D Series PSU-1 Power Supplies together as a dual 1U unit to save valuable rack space, and there are places for optional feet on the bottom if needed.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePlenty of Features\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Mercury D Series G810 Rack System has many features to make your recording experience easier. The G810 Chain Switch (per channel), This switch allows simple, convenient, internal signal flow among modules. Example: If you have a Mic pre in Channel 1 of your Mercury D Series G810 Rack System, an EQ in Channel 2 and a Limiter in Channel 3, you could plug your Microphone cable in the input of Channel 1 and an XLR Cable into the Output of Channel 3 directly to you recording device and engage the Chain Switch on Channel 1 and 2 and they will all be \"Chained\" together. Note: This also works if you are using DB25 connectors to your patch bay as well. The G810 Link Switch, (per channel), This switch provides 'Linking' of modules that support that feature. Ground Lift - The ability to 'lift' the ground connection to insure quiet operation in all environments.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Future\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Mercury D Series G810 Rack System is just the beginning. It is the first part of the Mercury D Series System that will feature Mercury D Series Modules, like Preamps, EQ and Limiters. More, there are new products and problem solving tools for engineers to use to make the gear they already use better. The Mercury D Series G810 Rack System has 10 slots, 1-8 are designed for Mercury D Series or any '500 Module' to be installed, and you can also install these on slots 9 and 10 as well. But in the very near future we will have several Mercury G8 Modules for slot 9 and 10 that will let you do things with the Mercury D Series G810 Rack System to make recording easier and also have choices at your fingertips.\u003c\/p\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46171784577307,"sku":"G810","price":1998.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mercury-d_series_g810_rack_system-kmr_audio-4928_1.jpg?v=1692029479"},{"product_id":"neumann-ea4-shock-mount-for-tlm102-microphone-in-black-factory-repack-ea4bk-c01","title":"Neumann EA4 Shock Mount for TLM102 Microphone in Black (EA4BK)","description":"\u003cp\u003eEA 4 Shockmount Black. The Neumann EA 4 is a shockmount designed to fit the TLM 102, TLM 103, and TLM107 microphones. It features a swivel mount with a 5\/8\"-27 female thread, plus a thread adapter to connect to 1\/2\"- and 3\/8\" stands (European standard).\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAdapts to European or US mic stands Choice of silver or nickel Swivels into a variety of angles and positions Neumann quality\u003c\/li\u003e\n\u003cli\u003eThe Neumann EA 4 is a shockmount designed to fit the TLM 102, TLM 103, and TLM107 microphones\u003c\/li\u003e\n\u003cli\u003eIt features a swivel mount with a 5\/8\"-27 female thread, plus a thread adapter to connect to 1\/2\"- and 3\/8\" stands (European standard)\u003c\/li\u003e\n\u003cli\u003eThe Neumann EA 4 is a shockmount designed to fit the TLM 102, TLM 103, and TLM107 microphones\u003c\/li\u003e\n\u003cli\u003eIt features a swivel mount with a 5\/8\"-27 female thread, plus a thread adapter to connect to 1\/2\"- and 3\/8\" stands (European standard)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Neumann","offers":[{"title":"Repack | On Order","offer_id":46172155838747,"sku":"EA4BKRP","price":148.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/EA4BKRP-0_ca6adc96-1e1c-4b41-be92-24ba1676f8ca.jpg?v=1706558024"},{"product_id":"mercury-am16d-am16dmercuryrecordingequipment-c01","title":"Mercury AM16D Transistor Type Studio Microphone Amplifier Module 500 Series","description":"\u003ch2\u003eWhy you need the Mercury AM16D:\u003c\/h2\u003e\u003cdiv\u003eAfter 20 years of custom racking vintage modules and 15 years of manufacturing Mercury products... David Marquette and the Mercury design team have designed the first Mercury D Series Module for Mercury G810 Rack Systems and any 500 series rack. Going to back to an old favorite and previous, classic inspired Mercury product, the Mercury AM16, they now offer the Mercury D Series AM16D Studio Microphone Amplifier Module.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eThe Mercury AM16D is a D Series \/ 500 Series version of the original American, modular, transistor type preamplifier built in the 1960s. The AM16 is well known for being very musical overall, open and airy on the top end and having a tube-like \"air\" characteristic not found in most amplifiers of the same type.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eThe Mercury AM16D Features include: Gain Control (0-50dB, 0 = Line Input), Phantom (48V), Polarity (Phase Reverse), an Output Control (Fader), a newly designed Direct Input featuring the Mercury FDI Circuit, and comes with a Peak Indicator that allows you to see quickly which channel is receiving ‘hot’ signals.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eThe Mercury AM16D has transformer coupled inputs and outputs with custom wound transformers that are modeled after the originals. These transformers are the same transformers we used in our older 2U 19\" version, the Mercury AM16. The amplifier gain is set at 50dB like the original \"AM16 R\" high gain setting. They have added features that make the Mercury AM16D more flexible than the original, or even a modern rack solution of vintage modules.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eThey have worked with many of the vintage AM16 modules in the past. At Marquette Audio Labs we have been racking and modifying modules since 1994 and the ‘vintage Langevin’ AM16 has always been a personal favorite. We have always had continuous great feedback from clients about the musical characteristics of the AM16. But the original modules have not been made for some 30+ years and supply is not able to meet demand. The Mercury AM16D solves that problem with the same fully discrete, \"transistor type\" circuitry and more importantly the same musical quality and performance of the original modules.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eThe original AM16 Amplifier literature stated: \"The AM16 is primarily a microphone pre-mixing amplifier (mic pre). However, its performance also qualifies it for use as a post-mixing (booster) and as a low-level program amplifier. Of special note is the low noise generation figure.\"\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eMercury Recording Equipment has achieved its goal with the Mercury AM16D: to make it possible to use the amplifier to its original, full potential. The Mercury AM16D can be used as a microphone amplifier (mic pre) and you can also use it as a line amplifier (booster) by using the Input Gain and Output Fader controls, Note: You can set at 0dB to accept Line Level inputs and or increase gain and turn down Output for ‘musical break up.’ You can use it to warm up tracks or as a front end of your G8 Sum-It Mixer. The Direct Input on the Mercury AM16D was designed for direct recording of bass and electric guitar as well as keyboards and drum machines, etc... The Mercury FDI Direct Input on the Mercury AM16 is very full sounding. There is more mid range and low end presence than most DIs as well as an open and airy top end that the AM16 is famous for.\u003c\/div\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"Pre-Owned | On Order","offer_id":46174453629211,"sku":"AM16DEBAYPRO","price":888.0,"currency_code":"USD","in_stock":false},{"title":"New | On Order","offer_id":46174453694747,"sku":"AM16D","price":999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mercury_am16d_front_med.jpg?v=1692032892"},{"product_id":"mercury-g810-rack-system-2-with-2-6a-psu-g810s2","title":"Mercury G810 Rack System 2 with 2.6A PSU","description":"\u003cp\u003eThe \u003cstrong\u003eMercury D Series G810 Rack System\u003c\/strong\u003e is the first of many products in the new Mercury D Series Line. From the outside, you might think you have seen this product or something similar before, but there is more than meets the eye with the Mercury G810 Rack System. David Marquette and Mercury used a combination of 20 Years experience custom racking vintage modules and new, innovative features to completely reinvent the 500 Rack inside and out with the new, Mercury D Series G810 Rack System.\u003c\/p\u003e\n\u003cp\u003eThe Mercury D Series G810 Rack System solves the biggest complaint for users of other '500 racks' in the marketplace: Lack of Power, especially when using products that are not built to the specifications of the '500' Standard. The products not built to that standard take more then their share of the power to work, which in turn causes problems with all other modules in the rack. This is not an issue with the Mercury D Series G810 Rack System.\u003c\/p\u003e\n\u003cp\u003eThe power specification for Mercury D Series G810 Rack System is much higher than the spec of the '500' Standard. Providing more power does not solve the power problems of '500' Racks, so, Mercury successfully designed a better Power Structure not just providing more amps\/watts. Mercury designed the Mercury Power Regulation Circuit as a solution to '500' Rack power problems. The Mercury Power Regulation Circuit is not only in the rack, it is on every channel of the rack offering individual regulation per channel. The Mercury D Series G810 Rack System is the first '500' Rack to have this feature and is why we feel this is not only a better rack but a better system overall. The Mercury Power Regulation Circuit allows each channel to be isolated from the channel next to it or any other channel in the rack, which will protect from faults or emissions from problematic modules. No module in the Mercury D Series G810 Rack System shares DC power with another module in the rack.\u003c\/p\u003e\n\u003cp\u003eIn addition of the Mercury Power Regulation Circuit, there is also the Mercury Soft Start Circuit featured in the Mercury D Series G810 Rack System as well. The Mercury Soft Start Circuit allows power to 'ramp up' slowly and will gradually and gently apply voltage to your expensive D Series or '500 Series' modules when you power up. This is better for your modules as well it reduces the danger to woofers that could be damaged with 'turn-on' thump when part of a larger system.\u003c\/p\u003e\n\u003cp\u003eIt might not be the first thing you think of when buying equipment, but the power for any recording device is the foundation of how it works. In Professional Audio a clean, regulated and abundant power supply affects the headroom of your Preamps, Equalizers and Compressor\/Limiters etc... Stable, Abundant, Isolated power simply allows your equipment to work better and avoids cross talk between channels. For example, If you have a rack full of 8 or 10 limiters for drums you are going to hear things distort sooner on peaks if there is not enough power in reserve. We have solved those issues with the Mercury D Series G810 Rack System, allowing you to concentrate on recording music, not calculating the amperage or total power you need in your rack.\u003c\/p\u003e\n\u003cp\u003eThe Mercury D Series G810 Rack System is simply built like a Tank. Featuring thick aluminum rack ears, and a durable steel chassis, for both strength and optimum shielding for internal electronics. Like all Mercury Recording Equipment Co. products, the Mercury D Series G810 Rack System is engineered to be reliable and look good in your studio but built to be road-worthy.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46177011892507,"sku":"G810S2","price":1798.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/G810S2_0.jpg?v=1692034337"},{"product_id":"mercury-recording-equipment-g8-sum-it-8-2-module-g8sum-it","title":"Mercury Recording Equipment G8 SUM-IT 8:2 Module","description":"\u003ch3\u003eMercury D Series Passive Summing Mixer\u003c\/h3\u003e\n\u003cp\u003eThe Mercury D Series G8 Sum-It is an 8:2, passive summing mixer for your Mercury G810 Rack System. It is a simple to operate, flexible and convenent mixer to have on top of your work station or in your rack. Illuminated push button switches allow you to easily choose Left, Right or Center (for Center both are buttons are engaged) on the G8 Sum-It.\u003c\/p\u003e\n\u003cp\u003eThe G8 Sum-It gives you many options that you can quickly and easily use during a recording session. Sum 8 tracks down to stereo if you only have 2 inputs to your DAW or recorder— or, easily sum multiple microphones together for mono, dual mono or stereo applications. If you have 3 mics on a guitar cabinet, you can quickly sum them down to 1 channel by engaging 3 switches on the Mercury D Series G8 Sum-It. You also can still use direct outs from Channel 1-8 to go to another DAW, mixer, etc...\u003c\/p\u003e\n\u003cp\u003eThe best feature of the Mercury G8 Sum-It is that it is passive. The G8 Sum-It was designed to use the Mercury M72s, M76m or GPQ15s Studio Microphone Amplifiers as the two buss amplifiers for the G8 Sum-It, but any preamp at 34dB of gain will work. You can easily change the tone of recording by changing the two buss amplifiers on your G8 Sum-It. Mix and match your Mercury Studio Microphone Amplifiers to get the sound you want for bass, guitar, drums, keys, etc... or you can easily send 4 stereo stems from your DAW out to your G810 \/ G8 Sum-It to get warmed up with your Mercury M72s working as your two buss amplifier.\u003c\/p\u003e\n\u003cp\u003eEasy set up example: take the outputs of channels 9 and 10 on the G810 Rack System (which is left and right out of the G8 Sum-It) and plug into the inputs of your Mercury M72s, Mercury M76m or other preamp. Set the preamp's gain to 34dB and you are at unity level for the Mercury D Series G8 Sum-It. Take the outputs of the preamp (working as your two buss amps) to your DAW or Recorder.\u003c\/p\u003e\n\u003cp\u003eThe Mercury D Series G8 Sum-It is the first in the G8 Module Product Line. G8 Modules are proprietary 2-slot modules for slots 9 and 10 in your Mercury D Series G810 Rack System I or II. No other '500' rack has the interface capabilities to connect a Mercury G8 Module. The G8 Sum-It can be installed in both the G810 Rack System I and G810 Rack System II.\u003c\/p\u003e\n\u003cp\u003eYou can request the Mercury D Series G8 Sum-It is pre-installed into your G810 Rack System at time of purchase, just inform your favorite Mercury Dealer and we will install before shipping out your rack. If you are installing the G8 Sum-It yourself, for best results, install while slots 5-10 are empty to allow room to plug in the cables easily. The ribbon cables on the bottom of the rack are to interface with the G8 Sum-It. The ribbon cables at the top of the rack do not interface with the G8 Sum-It. Simply unplug the bottom ribbon cable connectors mated together at bottom of the rack from each other, and then plug the male cable end into the female connector of the G8 Sum-It and the female cable end to the male connector of the G8 Sum-It. Then install the G8 Sum-It into slots 9 \u0026amp; 10.\u003c\/p\u003e","brand":"Mercury Recording Equipment","offers":[{"title":"New | On Order","offer_id":46183543210267,"sku":"G8SUM-IT","price":789.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mercury_sum_it_front.jpg?v=1692042091"}],"url":"https:\/\/www.altomusic.com\/collections\/mercury-recording-equipment.oembed?page=2","provider":"Alto Music","version":"1.0","type":"link"}