Este producto utiliza bulbos modernos de existencia indefinida, a diferencia del Doublewide rev. 1, que usa bulbos de edición limitada. 

The DOUBLEWIDE II is a single-channel compressor that installs into two slots of a standard 500 series rack yet it requires only 130-milliamps of current—just like the original Retro DOUBLEWIDE compressor. Also retained from the original are the gray painted front panel, high-quality US-made Simpson gain- reduction meter, and hand wiring throughout (no troublesome ribbon cables). DOUBLEWIDE II’s excellent build-quality is apparent starting with the American-made PC board and extends to the durable and attractive stainless steel case and, don’t forget, we only use Cinemag’s highest-quality input and output transformers for authentic tone and weight plus the complete freedom from external interference and noise. During initial user testing and comparison, the DOUBLEWIDE II immediately exceeded all expectations with increased flexibility and control that many original DOUBLEWIDE users have demanded. With both faster attack and release (recovery) times now possible, the DOUBLEWIDE II excels at energizing vocal tracks as well as controlling bass, guitars and drum tracks in an elegant and transparent way or go extreme and radical—or dial in anywhere in between!

We took the circuit topology of the Sta-Level and packed it into a single width 500 module. The 500PRE three tube gain stage exhibits the same detail and depth. As with all Retro products, the feeling of the musical performance is delivered with the Retro Instruments 500PRE. Distortion, Noise and Frequency Response of the 500PRE are outstanding; but overload characteristics are not generally revealed by standard measurements. The 500PRE tubes gracefully limit the signal at +18 dBu. Whether you’re just going for clean gain or pushing the 500PRE into overdrive, it won’t ever sound plastic and brittle like solid-state amplifiers can. Transient detail is unrestrained.
The Retro 500PRE doesn’t sleep when you’re done tracking. Use the 500PRE as a high-energy limiter during mix-time. The 500PRE design purposely has the limiter effect of tube amplifiers. You’ll love to use it as a limiter to fatten all kinds of tracks.
The Retro 500PRE works within API 500 rack power limitations. Each 500PRE consumes 160 ma of power, slightly above the 130 ma VPR-compliant allocation. We recommend racks with quiet linear power supplies like the API models. When power requirements are observed, the rack and 500PRE will provide years of reliable service.
The Retro 500PRE uses three 12AT7 tubes that are readily available as new production or new-old-stock. A user can select from a wide variety. Your unit uses the new production TAD 12AT7 and these tubes are expected to last for a very long time under the 500PRE operating conditions. We use soft-start circuitry that minimizes stress to the tubes and power supply. The 500PRE takes less than a minute to warm up and perform.

Specifications

• Front Panel Controls: Input Level, Gain Select (two or three stage amplifier), Phantom Power, Polarity, and Output Level.
• Input and Output Connections: On edge card connector for 500 rack XLR.
• Gain: 48 dB (low gain two stage topology) 76 dB (high gain three stage topology)
• Total Harmonic Distortion: <.05% at +4 dBu output from 20-20000 Hz.
• Frequency Response: +/- .25 dB from 20-20000 Hz
• EIN: -128 dB (150 Ohm terminated)
• Typical Output Level: +4 dBu
• Output Clipping Level: Tube limiting Threshold +18 dBu, +24 dBu clipping headroom.
• Input Level Range: -72 dBu to +12 dBu
• Input impedance: >1000 Ohms from 20-20000 Hz.
• Output Impedance: 600 Ohms Transformer Balanced.
• Power Consumption: +/-16 Volts 155 ma. 48 Volts 3 ma.
• Weight: 2 lbs 7 oz.

The Retro Instruments Revolver is a highly flexible two-channel all-tube compressor, hand built in the USA with that classic British tone. The Revolver is modeled after the legendary Altec 436 compressor but includes some expanded features to further control the compression in any stage from tracking, mixing to mastering.
Each channel has independent controls for Input, Output, Attack, Release and a Side Chain Filter with the options of 90 Hz and 250 Hz. By engaging the “Link” control, the Revolver will function as a true stereo compressor. The Dual Threshold Control is used to adjust the ratio between 1:5 and 5:1 on each channel, but can also be used to add amplifier saturation to thicken up a vocal, drum bus or the entire mix.
The Revolver is equipped with two beautifully designed and well-lit vintage-style VU meters. A “Meter Zero” control is conveniently located on the front panel to ensure the calibration is spot on every time. Tubes and other components are selected for top performance and proper stereo tracking.

Features:

• A most desired compression signature
• Ideal for the stereo bus and excels at tracking, mixing and mastering
• Independent controls with stereo linking, continuously variable input, output, attack, release and threshold
• Dual Threshold Control allows control of ratio and amplifier saturation
• Low noise and high separation
• Differential all-tube signal path
• Transformer-balanced inputs and outputs on XLR connectors
• Illuminated VU meters
• Front panel meter zero controls
• Internal tube balancing facility
• 120 or 240 Volt operation

The Retro Sta-Level is a recreation of the legendary 1956 Gates Sta-Level. The Sta-Level dominated the sound of hit radio in the 1960’s. Now these super musical sounding compressors have found their way into today’s hits. The Retro Gold Edition celebrates fifty years of the products existence. The Retro Sta-Level improves on the original with six settings of recovery (release) time and three different modes of operation. Single is super smooth for bass tracks. Double is perfect for most every source you throw at it. The Triple mode allows the Sta-Level to clamp down on fast transient waveforms while still retaining great musicality. These new adjustments give you wide flexibility to find the perfect dynamics control for your specific application

The Sta-Level utilizes a novel program controlled release circuit. The Sta-Level implementation creates density and consistency while minimizing typical compressor side-effects at up to 40dB of gain reduction! The program path is transformer balanced throughout to cancel control-induced distortion. Push pull circuitry with 6V6 output stage provides wide voltage swing for gain control and line output. The result is that the Sta-Level brings a uniquely familiar intimacy, air and warmth to your tracks.

Revisions to the original design include:

• Tube balance can be instantly aligned without test equipment
• Uses a pair of easily-obtainable 6BA6 gain reduction tubes. The 6386 socket is still provided..
• Two or more Sta-Levels can be coupled together for stereo, surround or sidechain operation
• XLR transformer balanced input and output
• IEC Power Connector
• Hand matched audiophile-grade coupling capacitors
• High quality, custom wound transformers used throughout
• Internal component safety cover

Specifications:

• Gain Reduction Threshold: Continuously adjustable from +24dBm to -20dBm
• Available Gain Reduction: 40dB
• Total System Gain: 35dB (with standard input and output pads)
• Distortion: 1 percent or less from 0-30 dB gain reduction
• Frequency Response: ± .25dB from 20-20,000 Hz
• Noise: -70dB or better referenced to gain reduction threshold
• Output Level: Continuously adjustable from -40 dBm to +18 dBm
• Input Impedance: Accepts low impedance active or transformer balanced 0-600 Ohms
• Output Impedance: 600 Ohm transformer balanced, terminated and resistive pad coupled
• Tube Complement: 2-6BA6, 1-12AT7, 2-6V6GT, 1-6AL5, 1-OB2, 1-5Y3GT
• Power Requirements: Three prong IEC - Switchable 115-230 VAC - 50/60 Hz
• Mounting Requirements: 3U metal rack 5.25" high, 19" wide, 8" deep

The Retro Powerstrip recording channel is a high powered “channel strip” or “vintage studio in a box”, capturing the tone of a tube mixing desk, Pultec-style tube EQ and British tube compressor all in one compact 2u rack unit. It has all the right inputs and enough gain for every microphone and instrument you can throw at it. It has a balanced line level input for pro-interface instruments and for use during mix time. The performance is purely musical. It is perfect for use in any size recording studio or on stage.

Features:

• Transformer coupled Class-A tube microphone preamplifier with phantom power.
• Industry-standard Passive EQ with authentic feel, controls and equalization curves.
• Classic British compression using a variable-mu tube.
• Front panel 1/4' instrument jack.
• Rear panel XLR mic and line inputs and line output are fully-floating transformer balanced to eliminate ground-induced hum and noise.
• Interstage-coupled Subsonic High-Pass Filter provides Peaking LF Boosts with alternate tonal characteristics.
• LF Boost Settings of 20, 30, 60 and 100 Hz Complementary LF Cut settings of 20, 30, 60 and 100 Hz.
• HF Boost Settings of 1.5 kHz, 3 kHz, 4 kHz, 5 kHz, 6 kHz, 8 kHz, 10 kHz, 12 kHz, 14 kHz and 16 kHz.
• Complementary HF Cut Settings of 5 kHz, 10 kHz and 20 kHz.
• Six selectable compressor attack/release time-constants.
• 90 / 250 Hz compressor high-pass sidechain filter.
• Easily recallable 100-position knob scales.
• The compressor and equalizer can be independently bypassed.
• Phase reversal switch.
• Front panel meter zero adjustment.
• IEC power inlet with 120/240VAC 50/60Hz power mains standard.
• Ability to use current production and new-old-stock tubes.
• Tube enthusiasts have many options and resulting tone variations.
• Tube changes require no alignment.
• The instrument input loops to a rear panel jack for stage amplifier.
• Rear panel line level XLR output and low-level balanced output for processed stage amplifier.
• Design minimizes tube heat generation.
• High stability components used throughout.
• Steel Chassis built to last.
• Manufactured in the USA.
• Full factory support.

Este compressor, incluye bulbos "vintage" modelo 6BJ6, que por su limitada existencia hacen que sea un producto de edición limitada. 

The Retro Doublewide is a mono tube compressor unit designed from the ground up for the 500 series format. It’s authentic tube compression in a go-anywhere package! So now, whether you’re in the studio, on location, or on the road, you can enjoy classic Retro compression without compromise.

Vintage Tube Amplifiers and Custom-Designed Transformers set the soundstage. True Passive Equalization creates Bountiful and Musical Equalization curves. The new RETRO 2A3 is designed as an ultra High-Fidelity Program Equalizer whose sonic benefits go beyond the equalization process. Accurate to the industry-standard Pultec EQ performance, the RETRO 2A3 adds HF boost frequencies in several new sweet spots. Carefully implemented HF boost circuits capture the signature sound of the original passive equalizers. Use these settings to make individual tracks fit in place. Make a vocal shine and add distinct presence. There are many satisfying applications, most notably the stereo mix buss.

The Retro 176 is based on a Bill Putnam classic, the UA 176. The Retro 176 faithfully reproduces the sound of the 1960s original with new features for the modern recording studio. The Retro 176 provides one of the most desirable compression signatures in recording history.

Features:

• Authentic variable-mu tube design
• Precision Knob scales for easy recallability
• Continuously variable attack and release time
• Four settings of compression ratio from soft compression to limiting (2:1, 4:1, 8:1, 12:1)
• Wide-Range Sidechain Highpass Filter
• Vocal Asymmetry Tool
• Hard-wire Bypass Switch
• Interstage Transformer Bypass Switch
• High Quality VU Meter switchable between Input, Output and Gain Reduction
• XLR input and output connections
• IEC power connector
• 115/230V AC Mains
• Integral tube balance test
• Easy stereo strapping of two or more units
• Selected NOS tubes and components

Specifications:

• 20 dB of available gain reduction
• Signal to noise ratio of greater than 76dB
• Flat frequency response within 0.5dB from 20-20,000Hz
• Harmonic Distortion of less than 1% from 0-15dB gain reduction