new klangenschmitt spitfire design

klangen

klangen

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

cam6

cam5

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.

cam11

cam12

 

NRU broadcast mixer

nru1

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.

nru2

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.

nru3

nru4

phonoekagraph

phonoekagraph

 

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.

phonoekagraph2

neever city

neever8>

here’s a ‘blueprint’ made today to layout  this amp before i drill and stamp a panel.  8 channels in 3 rack units with a headphone monitoring function. the mic amps are 3 stage neevers. the first stage is two controlled amps in series. so – given a soft instrument requiring a big gain – there’s a mile of fat juicey level with low low background noise and low low distortion.  each amp is working only a bit – no stress or strain. loads of headroom.  andrew tested this neever design against several other high end mic amp amps and reckoned this one sounded the most real and clear and lifelike.