The Mercury M72s/1 (Mk. III) is the mono version of the Tube Mercury Studio Microphone Amplifier, the M72s. The Mercury M72s is based on the most sought after vintage amplifier module, the Telefunken/Siemens V72s, which is most famous for being used in REDD.37 consoles, which was used on all the early Beatle recordings by George Martin at Abbey Road Studios in London, England.

The Mercury M72s is based on the very rare V72s module used in consoles due to a minimal amount made. The more common V72 amplifier modules (not marked with lower case s, ie V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and, in some cases are now in need of much repair.

Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a "secret weapon" for many studio musicians. Mercury Recording Equipment is proud to have a faithful reproduction in the M72s.

Features:

The Gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments, controlled with a high quality rotary switch. Also, there is an option of a selectable Input Pad of -16dB or -28dB for even more control. Additionally, when the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run signal through the M72s to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc. There are also all the modern features you expect on a new piece of equipment: Phantom Power (on/off) , Phase (Polarity) Reversal, and the amazing sounding F.D.I. (FET Direct Input) circuit per channel.

The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone pre-amp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each pre-amp comes through.

The Mercury M72s has the rich lows and punchy mids giving you that ‘instant’ vocal tone, a realistic acoustic guitar tone, or add punch to a bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s Studio Microphone Amplifier has the ‘vintage’ tone and break up like the original circuit but it is a bit more musical over all (not cleaner, more musical, there is a huge difference).

Specifications:

• Mic Input Impedance: Approx. 2k
• Suggested Source Impedance: Approx. 200 ohms
• Input Impedance with -28dB Pad: Approx. 4k
• DI Input Impedance: 2M ohms
• Internal Output impedance: 30-50 ohms (depends on gain setting)
• Suggested Minimum Load: 500 ohms
• Max. Mic Signal Input Level (@ 20 Hz): +34dBu with -28dB Pad engaged / +6dBu with
• Pad not engaged
• Max. Output Level: +22dBu
• Frequency response: 20 Hz to 20 kHz +/- 0.5dB
• Harmonic Distortion: All musically related low orders of harmonics, with no
• significant order above 5th.
• Tubes: 2x EF806s, per channel
• Rack Size: 2U

FAQ: Mercury M72s vs. M76m, Whats the difference?
Both are multipurpose tools for making music. But they do sound very different.

Tone
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 is great on Vocals, Bass, Drums, Acoustic and Electric Guitars as well as room and Over head applications. The M76m is warm, yet open and airy. Compared to the M72s the M76m is overall more evenly "EQ'd". Meaning there is not a push in the low or mids. The M76m shines on Vocals, Bass, Piano and Guitars giving you an amazing of control to shape the amplifier's tone. As well the M76m opens up your room and over head mics. With 70dB (+/-) of total gain and the choice High and Low Input Impedance, so ribbon mics love the the M76m.

Gain
The M72s has 28dB to 58dB with -16 and -28dB Input Pad and the M76m has nearly 70dB, with the 60dB input gain, and Level Control and the Low impedance selected (+6dB).

The 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.

Now 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.

The Mercury EQ-P1 is based on the vintage ‘Pultec EQP1a’ circuit, which uses a passive EQ circuit with a fully balanced (push-pull) gain make up amplifier. This new Mercury production utilizes only the highest quality passive components, while remaining true to the original, and like all Mercury products, has transformer balanced input and outputs.

Besides a much more powerful and stable power supply and running DC on the heaters, rather than AC, the only other modernization is one of Mercury EQP2’s most popular features: the Mercury I.S.T. Switch.

The Mercury I.S.T. Switch offers the choice to switch the Interstage Transformer in or out of the circuit. Giving engineers a choice with a flick of a switch between the standard Mercury warm, musical, "vintage" tone with the I.S.T. Switch not engaged (out) or a much more open and airy version of the same full, warm tone with the switch engaged (in). In the original Pultec EQP the Interstage transformer was always in the signal path. With the I.S.T. Switch engaged and the interstage transformer not in the circuit, there is slight widening of the sound and slightly more open top end. Many of today's engineers value this feature on the Mercury EQ-P1 and now the Mercury EQ-P2 Studio Program Equalizers to have choice between two great, but different sounds without changing their frequencies or setting and hearing the change instantly. Note: With the I.S.T. Switch engaged or not, the input and output transformers are always in the circuit.

The Mercury I.S.T. Switch makes it possible to change the characteristics of the tube by a simple flip of a switch. This flexible, modern feature can only be found in the Mercury EQ-P1 circuit. This provides engineers with the choice to use the 1:1 transformer in the middle of the circuit, or not.

The new Mercury M76m/1 (Mk. III) is a mono version of the M76m. The M76m is based on one of the most sought after vintage amplifier modules, the ‘Telefunken/Siemens’ V76m. These modules were used in European broadcast and recording studios in the 1960s. Later, after tube consoles where out of favor and replaced by smaller, more discrete transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in studios around the world.

Inspired by the vintage tone and craftsmanship of the classic, the Mercury M76m (Mk. III) focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The new M76m (Mk. III) has a new look but same stellar tone and craftsmanship and is still proudly built in the USA. 

The Mercury M76m is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years, so working units have become extremely rare, very expensive and in some cases are now in need of much repair. Drawing on nearly 20 years experience repairing, rebuilding, and most importantly listening to the Telefunken/Siemens V76 modules it was Mercury's first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tube per channel. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and High/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers.

Features:

• The Mercury M76m Gain Control of 0 to +60dB in 6dB increments, works in conjunction with the Level Control and Output Attenuation
• The Level Control, which will work as a ‘fader’, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier - this also allows you the ability to add musical (tube) “break up” by decreasing your level (control) and increasing the (course) gain
• The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings
• Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on/off) , Phase (Polarity) Reverse, and our amazing sounding F.D.I. (FET Direct Input) Circuit
• The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology
• The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone
• The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through

Specifications:

• Mic Input Impedance: Approx. 2k
• Suggested Source Impedance: Approx. 200 ohms
• DI Input Impedance: 2M ohms
• Internal Output impedance: 30-50 ohms (depends on gain setting)
• Suggested Minimum Load: 500 ohms
• Frequency response: 20 Hz to 20 kHz +/- 0.5dB
• Harmonic Distortion: All musically related low orders of harmonics, with no
• significant order above 5th.
• Tubes: 3x EF806s, 1x E83F, per channel
• Rack Size: 2u

The new Mercury M72s [Mk. IV] is our flagship, valve Studio Microphone Amplifier. The M72s is based on the most sought after vintage amplifier module—the Telefunken/Siemens V72s—which is most famous for being installed in REDD.37 consoles, used on all the early Beatles recordings by George Martin at Abbey Road Studios in London, England.

You may notice the new Mercury M72s was stripped of a few vintage inspired, aesthetic extras of the MK II [which is still available as the M72s-CSV, custom shop version] but is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers we have used since we started building the first M72s at Mercury Recording Equipment.

The Mercury M72s is based on the module used in consoles which are very rare due to a minimal amount made. The more common V72 amplifier modules (not marked with the lower case s, i.e. V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair. Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a "secret weapon" for many studio musicians.

Mercury Recording Equipment is proud to have a faithful reproduction in the M72s. We have 20+ years of experience with the amplifiers and feel we have captured not only how the units behave, but how they sound overall. We are confident with the addition of modern features, making the M72s much more versatile, without sacrificing the most important feature: Musicality.

Mercury M72s Features

The Gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments, controlled with a high quality rotary switch. Also, there is an option of a selectable Input Pad of -16dB or -28dB for even more control. Additionally, when the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run signal through the M72s to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: Phantom Power (on/off) , Phase (Polarity) Reversal, and our amazing sounding FDI (FET Direct Input) circuit per channel.

The Mercury FDI (FET Direct Input) is a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.

The Mercury M72s has the rich lows and punchy mids giving you that 'instant' vocal tone, or assisting with a realistic acoustic guitar tone, punch to bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s Studio Microphone Amplifier has that "vintage" tone and break up like the original circuit but it is a bit more musical over all (not cleaner, but more musical—there is a huge difference).

The M72s-CSV is based on the most sought after vintage amplifier module—the Telefunken/Siemens V72s—which is most famous for being installed in REDD.37 consoles, used on all the early Beatles recordings by George Martin at Abbey Road Studios in London, England.

Inspired by the vintage tone, craftsmanship and practicality of the original, modular, tube amplifier from the console. We wanted to pay homage in every detail. From the color of paint, to the style of venting used, to the nickel plated handles that were used to remove it from the slotted DIN rack on the console side. Bringing back the sound, look and feel that inspired not only this product but this company, Mercury, to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation.

The Mercury M72s-CSV is based on the module used in consoles which are very rare due to a minimal amount made. The more common V72 amplifier modules (not marked with the lower case "s", ie V72s) were later modified and have been sold for many years as outboard preamplifiers all over the world. Neither of these amplifier modules have been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair.

Regardless of cost, the uniquely musical tonal characteristics of these amplifiers has made them the prized possession of many engineers lucky enough to get the vintage modules, and a "secret weapon" for many studio musicians. Mercury Recording Equipment is proud to have a faithful reproduction in the M72s-CSV. We have 20+ years of experience with the amplifiers and feel we have captured not only how the units behave, but how they sound overall. We are confident with the addition of modern features, making the M72s much more versatile, without sacrificing the most important feature: Musicalit.

Mercury M72s-CSV Features

The Gain of the Mercury M72s is variable from 28dB to 58dB, in 3dB increments, controlled with a high quality rotary switch. Also, there is an option of a selectable Input Pad of -16dB or -28dB for even more control. Additionally, when the -28dB pad is engaged and it is set at the lowest gain setting (28dB) you can run signal through the M72s-CSV to add warmth and tonality to any tracks, mixes, keyboards, drum machines, samples etc... There are also all the modern features we expect on a new piece of equipment: Phantom Power (on/off) , Phase (Polarity) Reversal, and our amazing sounding FDI (FET Direct Input) circuit per channel.

The Mercury FDI (FET Direct Input) is a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury’s custom, massive input transformers, so that the individual character of each preamp comes through.

The Mercury M72s-CSV has the rich lows and punchy mids giving you that 'instant' vocal tone, or assisting with a realistic acoustic guitar tone, punch to bass guitar. The same reaction to instruments or source as the vintage module but with slightly more open high end and openness. The Mercury M72s-CSV Studio Microphone Amplifier has that "vintage" tone and break up like the original circuit but it is a bit more musical over all (not cleaner, but more musical—there is a huge difference).

The new Mercury M76m [Mk. IV] is the latest version of our benchmark Studio Microphone Amplifier. The M76m is based on one of the most sought after vintage amplifier modules, the Telefunken/Siemens V76m. These modules were used in european broadcast and recording studios in the late 1950s and 60s. Later, after tube consoles where out of favor and replaced by discrete, transistor consoles, the V76 modules still lived on and were racked as outboard mic amps and used in the studios around the world.

Inspired by the vintage tone, craftsmanship the M76m focuses on bringing back the sound, look and feel that inspired not only this product but this company to manufacture recording equipment and keep this and other beloved circuits alive to make more music for another generation. The new M76m [Mk. IV] was stripped of a few vintage inspired, aesthetic extras extras of previous versions but is still loaded with the same exact tone and warmth utilizing the same exact circuit, same quality parts and same transformers we have used since we started building the first M76m at Mercury Recording Equipment.

The Mercury M76m is based on the module used in consoles which are very rare due to a minimal amount made. These amplifier modules have not been available new for more than 50 years. So, working units have become extremely rare, very expensive and in some cases are now in need of much repair.

Drawing on 20+ years of experience repairing, rebuilding, and most importantly listening to the Telefunken/Siemens V76 modules it was our first priority to build a modern Studio Microphone Amplifier that sounds identical to the original. Mercury Recording Equipment Co. kept the integrity of the original circuit, the M76m has the same open, warm tonality created with the transformer balanced, dual stage, high gain amplifier, and uses four transformers and four tubes per channel.

We are confident we have built what is quite possibly the ultimate combination of vintage sound and modern features in a modern tube microphone amplifier. We feel we have captured not only how the units behave, but how they sound overall. With the addition normal modern features, such as: Phantom, Phase, as well as many new features such as: Level Control and a High/Low Impedance switch never available on any module, or even custom racked units, the Mercury M76m is the benchmark of modern tube microphone amplifiers.

Features & Controls

The Mercury M76m Gain Control of 0 to +60dB in 6dB increments, works in conjunction with the Level Control and Output Attenuation. The Level Control, which will work as a fader, increasing (clockwise) and decreasing (counter clockwise) the amount of gain from the first stage to the second stage of the amplifier. This also allows you the ability to add musical (tube) "break up" by decreasing your level (control) and increasing the (course) gain. The Output Attenuation Control (-0 to -10dB) has been added for even more control, including the ability shape tones in several different ways, if desired, which works well on electric guitar recordings. We have also added an Impedance Select Switch for both high and low impedance devices, as well as all the staple features one expects from a modern piece of equipment were added. Phantom Power (on/off) , Phase (Polarity) Reversal, and our amazing sounding F.D.I. (FET Direct Input) Circuit.

The Mercury FDI (FET Direct Input), a proprietary J-Fet circuit, based on a class-A tube topology. The Mercury FDI is designed to reproduce every nuance of a direct recording, while the circuit lets the tube or solid-state character of the amplifier determine the overall tone. The instrument DI signal is sent through the entire microphone preamp circuitry, including Mercury's custom, massive input transformers, so that the individual character of each preamp comes through.

All Tube, All Transformer Mono (linkable for stereo) Studio Limiting Amplifier

The new Mercury 66 Studio Limiting Amplifier is an all tube, all transformer, fully balanced, variable-bias limiter based on the most sought after product in this genre, the legendary Fairchild 660. This limiting amplifier is recognized as an essential tool for making great recordings. Many manufacturers have tried to copy the Fairchild circuit but have failed to capture the sonic essence and overall tone of the original. Until now.

Mercury 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 modern build. The choices made in looks, layout, functionality, features and build quality all answer back to one question: How would "they" have done it today? So, the Mercury 66, like all Mercury products, has no ICs (chips), and is proudly hand built and assembled in the USA using no-compromise parts/components and has transformer balanced inputs and outputs. With the vintage style VU meter, large bakelite knobs and powder coated chassis and front panel, the Mercury 66 has a very distinctive 1950s aesthetic so that they look as good as they sound!

The Mercury 66 Studio Limiting Amplifier is based on the classic Fairchild 660 limiting amplifier because we were inspired buy the unique sound that only this circuit delivers to your audio signal path. Using parts that are available today, we have met all the original specifications, but most importantly, the Mercury 66 sounds like a Fairchild. Its performance features include:

• Exceptional tone and musical focus
• Absence of audible thumps, distortion or noise
• Extremely fast attack time that can produce full limiting in 1/5000th of a second
• Variable release time from .3 seconds to 25 seconds
• Useful as a limiter or a compressor depending on the program material and control settings
• Reliability and stability (All components operate well below their rated maximums)
• All tube, fully balanced (push-pull) transformer coupled circuitry
• Simple, easy to use controls.

The Mercury 66 Studio Limiting Amplifier uses a single push-pull stage of amplification which are transformer coupled input and output (XLRs) with 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/out. The unit 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 for short duration 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.

One notable change on the Mercury 66 is the addition of 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 of the functionality and level of compression. This gives you the control how the amplifier reacts to the audio signal and basically how hard the compression tube ‘works’, allowing you to smash the signal or just add a soft touch of compression. This is possible by turning the DC Adjust to the far left (counter clockwise) on the M66 to add more DC and more compression [or saturation] — turn to the far right (clockwise) to decrease the amount of DC and the amount compression [or saturation, for a lack of a better term and to make things easier to understand]. 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 most of our users and this sets the Mercury 66 apart from the original and other compressors and limiting amplifiers available today.

Front Panel Controls:

• Input Gain
• AC Threshold
• Attack/Release
• DC Adjust
• Meter Zero (Trim)
• Stereo Link
• Power on/off Switch

Attack and Release Times:

• Position 1 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.3 ]
• Position 2 - Attack [ Fast - 0.2 ] Release, in Seconds [ 0.8 ]
• Position 3 - Attack [ Med. - 0.4 ] Release, in Seconds [ 2.0 ]
• Position 4 - Attack [ Slow - 0.8 ] Release, in Seconds [ 5.0 ]
• Position 5 - Attack [ Med. - 0.4 ] Release, in Seconds [ Auto: 2.0 peaks, 10.0 program ]
• Position 6 - Attack [ Fast - 0.2 ] Release, in Seconds [ Auto: 0.3 peaks, 25.0 program ]