kaimaitron has real balls… looks good too



“gidday! How are you? Just wanted to let you know the kaimaitron is going strong. Really getting to know my way around it now. It’s really amazing how many different tones come out of this thing from clean and clear to fat and warm to fizzy and aggressive. I’d still like to get the germanium stage up and running but even without it this thing has become a centerpiece and I’ve done everything on the new album through it. Apart from the beautiful quality of sound in itself, it’s also a very unique sound. What’s the latest?”

many thanks to ruban nielson of UNKNOWN MORTAL ORCHESTRA for those kind words. his handsome ekadek kaimaitron all transistor 4 channel mic/di amp  suffered a violent shake up/down on it’s journey to portland – oregon – usa. dam. we managed to get him going without too much trouble tho and it seems like ruban has been really enjoying the sound of the thing. the kaimaitron has a control room section within it – so as  to make monitoring / checking each mic carefully and then easily switching to monitor his computer recording device output – thus his comment about the kaimai boy becoming the centre of his studio. all good. cant wait to hear his new record of course. always loved his work – so honest and creative and expressive.



new klangenschmitt spitfire design



ekadek klangenschmitt spitfire console design.10 channel transistor mixer with stereo bus and echo bus.
stereo valve eq. stereo varimu tube limiter  stereo tube mix bus amplifier. 4 stereo returns. control room section has 3 speaker amp outputs – headphone send selection and volume , talkback function. an onboard p.a small fat hifi speaker is on board also. and big meters. 23000nz$ ballpark. all the recording mixing jamming playing musical functionality you’d ever need.


bagnall hill triple stack of ekadek

bevans trinity2

bevan from bagnall hill studio in country te pahu has just completed his trinity rack. contains three choice ekadek builds . on top is the dual channel 535 neever mic di amp .has original neve 535 twin channel awesome transistor amplifiers. in the middle is roger all tube dual channel mic di equalising amp. and down below is the four channel all transistor neever commando mic di amp. bevan has a lovely big recording space out in the country side that he built himself. he also makes guitars and ukeleles out of juicy native timbers. check out his CAPTAIN brand. http://www.captainukuleles.co.nz/home.html

cambridge electronic workshop console



rebuilding this cambridge electronic workshop console.
it will be 14 channels into 2 stereo mixes with 2 pre/post aux sends. there is talkback facility to aux 1. there is a small speaker p.a amp on board. there is a complete control section. her he is all taken apart with new and old circuit boards arranged onto mothers – almost all ready to be reassembled and wired . next weeks task.
i rescued this desk in melbourne about 1996 from the infamous RAY EMERY – he was a sound guy of years and years who had a house in the sticks piled high with old tech of all sorts. he was an awesome guy who was very generous with parts and infos and rum. the other desk i could afford at the time was a mackie style . i hated those measley thin heaps with zero headroom and bad eq. i.e no fun.

so i bort the cambridge and a heap of other bits off ray and slowly remade it work and have used it ever since in my studios.
ray was pretty bolshey dude and picked fights with the powerful creeps in his community. got so bad that they bulldozed his front yard up and cut off his power and water. not long after that he died in his sleep from monoxide poisoning – form the the petrol generator parked in his bathroom. he forgot to open the window and shut the door. r i p . he is missed.
the cambridge is all transistor from around 1975. just before chip amps became normal to use in consoles . i.e the burying the good clean audio signal with multiple multiple stages of chips each with a gazzillion transistors each. those cheap mass produced consoles are major electronic bullshit.
ive never found anyone who has ever heard of the cambridge audio workshop. so this must have been a prototype – originally designed to be a special functional theatre console.
the cambridge transistor operational amps are very neve ish .. 1070 thru 1080 like. the similarity is bonkers. they utilise different sex power supplies and opposite polarity bi polar transistors .. and yet they can live on the same circuit board with the appropriate amount of jiggery nouse.

update. sunday 6th july. just completed the last internal wireing yesterday and tested all the functionality. NO flaws. finish labelling and  got to take it to australia and attach it to it’s recording studio on thursday.




NRU broadcast mixer


this is a five microphone input – one line level output mixer. made by NRU ( Nederlandse Radio Unie ) netherlands in the early 1960s… i think. it was a super high end specicfication /price unit made for any outside broadcast application of the day.
if in NZ … NZBC concert programme recordings i imagine,
right thru to televised rugby matches.
and ‘ it’s in the bag’.
i saw this on trademe a month back. and surprise ! my tauranga client and friend damian lunson got it. so i get to play with it for a while.


so far it seems like the building block 2 tube amplifiers are the gold. there are 8 of them – mostly the same. except their individual input and output topologies are messed with according to the functionality design. 5 are channel amplifiers with switched input mode and selectible amplifier gain. one is a mixture amplifier. one is an output amplifier. one is an afl (cue function) amplifier.
the other two amp models are an utter mystery thus far. the thing to do is to reverse engineer a module – draw one out – get it going – see how awesome it sounds. get familiar with the rest – draw out an overall layout – test the theory however i need . and finally decide what the freak to do with it.






i love vinyl of course, and for years i’ve been experimenting to produce a phonostage to blow me away. i found a tube stage wite an extra quiet fet input with a partial RIAA correction eq. it was chilling clear bright and then added a beefy low bass transistor eq stage that brang the curve to within a bees dick of a true flat riaa response. took ages to get right. and the result is so fat and clean that my records seem like new again. i’m hearing fresh detail and beautiful depth . i’ve  added a transistor neveish stereo HF LF equaliser with selectable freaking ranges and a output stage with metering . and a stereo line input. sheeet. this is going to be great. im building this first unit into a lovely old tolex covered plywood case.