Notable Productions

This system is for the MCI JH24 multitrack machine. Excellent Condition, $3750. Trade offers are welcome if you have something I am interested in.

CLASP 24 brings the legendary sound of real analog tape to the modern DAW workflow by seamlessly integrating your tape machine into Pro Tools. Now you can record to tape and get the sound you love without waiting for transfers, lynx boxes, or SMPTE. CLASP gives your tape machine computer-control, all the while maintaining the speed and flexibility of a DAW. Best of all, CLASP delivers what is technically impossible using a DAW alone; real-time analog monitoring with zero-latency through a mastering grade audio signal path.

This one was used to make the 2013 Kiss album and has been at Notable ever since.

Original Vintage Neumann u67 microphone power supply.

I am looking to sell this PS OR buy your matching vintage u67 body with an original capsule.

Reach out if you have such a rare bird. This one came from a studio that had been ransacked and sadly sat unused for years. I tested it with my own whole vintage U67 and was happy to find it performed identically to my other supply.  

To Quote Neumann Microphone expert Klaus Heyne in his analysis of the newest Neumann U 67 he found the vintage power supply to have a sonic effect on the microphone over the new but solidly functioning reissue. Her are his thoughts.

A link to his analysis is below. He is an amazing and unique resource for mic knowledge.

1. Reissue: NU67V Power Supply

Test: Vintage U67, Telefunken EF86 chrome plate, original cable, but replaced vintage NU67u (1963) power supply with Reissue NU67V (2018) power supply.
DC output @ 120VAC nominal: 207 B+, 6.3VDC Heater.
(These voltages are very close to ideal, considering that there are no adjustment options)

The Sound: against expectations* a small reduction in sound stage width; the formerly robust lower mids are affected and so is the dynamic behavior; everything sounds a bit smaller, slightly distant, a bit listless, with an onset of high-mid smear; a small but noticeable step down in resolution. It’s subtle, but I had no doubt after repeating the test 10 times over several days.

*confirmation bias? I was previously incredulous of the impact a power supply could have on a tube-condenser mic’s sound. I used to discount ‘Golden Ears’ who claimed to “hear the power supply”. No longer.

used Bryston 4B Amplifier for sale $1200. Classic professional work-horse power amplifier used in Recording, Mastering, Home Theaters, and other High-fidelity audio playback systems.

The Bryston 4B NRB is a class-AB2 solid-state stereo power amplifier.
Audio Inputs: RCA
Audio Outputs: Banana Speaker Jacks
Number of Channels:2
RMS Power:250W

Call Dan at 617-680-5840 or email at dan@notable.com for more details.

For sale is a used Tube-Tech-ME1B all-tube equalizer in pristine condition $2950

The TUBE-TECH ME 1B is a passive, all-tube midrange EQ based on the legendary Pultech MEQ5, featuring two boost- and one dip section. The bandwidth of the ME1B sections is designed broader than in the MEQ5
for ultra-smooth and musical equalization, perfect for vocals, instruments, speech and all other midrange sources.

Mid frequencies have always been very important, when EQ’ing instruments and vocals to make a mix come together. TUBE-TECH ME 1B can shape the midrange frequencies in that very pleasant way, only a passive equalizer is capable of. Even extreme midrange boosts still sound open and warm without the slightest trace of harshness.

ME 1B is the perfect partner for the PE1C program eq and works very well as a bus EQ for many different uses.

The famous Motown sound? The ME1B is an important tool tool for adding that nice midrange to your recordings.

The TUBE-TECH ME 1B is a passive tube based midrange equalizer developed tomatch and surpass the demands of even the most discerning studio engineers.

The TUBE-TECH ME 1B Midrange Equalizer contains a low frequency boost section for peaking, a mid frequency attenuation for dipping as well as a high frequency boost section for peaking. The filter section is of the the passive type followed by a tube based push-pull amplifier to restore the gain.

Input and output are balanced as well as fully floating. Input and output transformers come with a static screen between the primary and secondary wirings.

• Tube based push-pull amplifier
• Frequency response @ -3 dB: 5 Hz to 40 kHz
• Low Noise: < -80 dBU @ 0 dB gain
• CMRR: > 60 dB @ 10 kHz
• 5 LF peaks: 0.2, 0.3, 0.5, 0.7, and 1 kHz (0 to +10 dB)
• 11 MF dips: 0.2, 0.3, 0.5, 0.7, 1, 1.5, 2, 3, 4, 5 and 7 kHz (0 to -10 dB)
• 5 HF peaks: 1.5, 2, 3, 4, 5 kHz (0 to +8 dB)
• Input impedance: 600Ω
• No insertion loss
• Conductive plastic potentiometers
• In- and output are transformer balanced and fully floating

Call Dan at 617-680-5840 or email at dan@notable.com for more details.

4-Channel Digital Parametric EQ

The Protea 4.24PS 4-Channel Parametric EQ Sys Processor lets you install multiple-channel parametric equalizers where tamperproof, precise audio equalization is required. Easily control and program the Protea EQ with Ashly's exclusive Protea System Software running on a PC or a MIDI controller. The Protea 4.24PS is housed in an all-steel, 2RU chassis, and has four independent channels of fully programmable 12-band parametric EQ with limiter, high- and low-pass filter, and time delay functions.

Each parametric band allows for 1/25th to 3.3 octave Q, a twenty-four step/octave frequency adjustment from 20Hz to 20KHz, and level control of +10/-20dB in 0.5dB increments. High and low-shelf filters are adjustable from 1.6kHz to 20kHz and 20Hz to 240Hz, respectively. High and low pass filters are 24dB/octave adjustable from 20Hz to 10.6kHz and 33Hz to 20kHz, respectively. The time delay is adjustable up to 1.364 seconds.

Other features include 24-bit A/D-D/A conversion, 24-bit/100MHz digital processing, RS-232, and MIDI interface, linkable channels, +6dB/-infinity master gain, and 128 preset locations. Both units display individual channel numbers using 7-segment displays. Signal present and signal clip levels are indicated by discrete LEDs.

Call Dan at 617-680-5840 or email at dan@notable.com for more details.

From Ashly: Protea System II 4.24PS The programmable parametric equalizer shall consist of four independent channels of 24 bit digital parametric equalization. Each channel shall consist of 12 bands with an adjustable Q ranging from 1/25th to 3.3 octaves. Frequency adjustment shall be twenty-four step/octave from 20Hz to 20KHz. The range of equalization per band shall be +10/-20dB in 0.5dB increments. The equalizer shall have a gain of unity with all bands set at zero, and shall have a maximum in/out level of +20dBu. Frequency response shall be ±.25dB 20Hz to 20kHz. Dynamic Range shall be greater than 110dB (20Hz-20KHz, unweighted) and SMPTE intermodulation distortion or THD shall be less than 0.01% at 1KHz, +20dBu. Input impedance shall be 18K ohms balanced. Output impedance shall be 200 ohms. Inputs and outputs shall be balanced type on XLR and 1/4 phone jacks. Each channel shall have a programmable high shelf filter adjustable from 1.6KHz to 20KHz and a low shelf filter adjustable from 20Hz to 240Hz. Level adjustment of the High and Low Shelf shall be in 0.5dB increments with a range of +/-15dB and shall have a selectable slope of 6 or 12dB. The equalizer shall also include on each channel a 24dB per octave high pass filter adjustable from 20Hz to 10.6KHz, a 24dB per octave low pass filter adjustable from 33Hz to 20KHz, a full function, pre/post switchable compres- sor/limiter with adjustable threshold, ratio, attack and release controls, and a time delay capable of a maximum of 1.364 sec- onds adjustable in 20us increments. LED indicators shall show signal present, clip and MIDI channel number. Channel gain shall be adjustable over a range of +6dB to - infinity in 0.5db increments. Control of the unit shall be via the RS-232 serial port using Ashly Protea System Software, or via MIDI. External recall of up to six scenes via contact closure shall be accessable through a db9 connector. The equalizer shall weigh 13 lbs net and mount in a standard 19 rack using 2 spaces (3.50 high). The power requirement shall be 90-125VAC (180-250VAC, switch- able), 50-60Hz, 27W. The unit shall be the Ashly Audio Protea System II 4.24PS.

The ST-70 produces a clean 35 watts per channel with a 1.3 volt input. The output transformers have 4-8- and 16 ohm taps.

Call Dan at 617-680-5840 or email at dan@notable.com for more details.

Used Terrasonde Audio Toolbox ATB-3Cfor sale. $1100 or best offer.

Audio & Acoustic Test Rig
Sencore SP495
The Sencore SoundPro SP495 is the top of the line color version of the latest model in the SoundPro (formerly sold by Terrasonde as the Audio Toolbox 3c) line with improved analog specifications. Building on the concepts pioneered by the ATB1, SP295 (ATB-Plus), and SP395a (ATB3 monochrome) (see below) it adds a high resolution color backlit display and the ability to use phantom powered measurement mics. It contains two Grace Design audiophile grade microphone preamps with 48 volt phantom power, has a USB port that allows the SP495 to be used as a USB preamp for recording on your computer (recording software not included), SPDIF & Toslink digital outputs, and can record wave files to a SD memory card. The SP495 has all the possible firmware modules already loaded, and unlock codes can be purchased to enable any extra modules you might desire. This SP495 not only comes with the standard SoundCore firmware module, but has all of the modules unlocked. It is supplied with a Type 2 phantom powered test microphone, universal AC power supply, carrying case and CD with software and manual. It has balanced and unbalanced input and output connections on XL, 1/4", and RCA connectors, a speaker, headphone output, RS232 serial, SPDIF, Toslink, and USB audio connections.

Call Dan at 617-680-5840 or email at dan@notable.com for more details.

Used Klark-Teknik DN410 (2 units) vintage precision parametric equalizers. $750 each. $1400 or best offer for the pair.

Dual Channel Five Band Parametric Equalizer

•Two channels of five bands of fully parametric equalization with separate variable high and low pass filters in each channel.
•Switchable dual/mono operation, automatically bypassing unwanted controls in the single channel 10 band mode.
•100% frequency overlap and a wide range of filter bandwidths for maximum flexibility.
•Individual Eq. In/Out switch with LED “Filter On” status indication for each parametric filter section and overall Eq. In/Out switch.

Coleman Rogers did the custom modification to this stereo EQ to be quieter and have tighter tolerances and smoother crossovers.

Call Dan at 617-680-5840 or email at dan@notable.com for more details.

Humes & Berg continues to prevail as a leader for manufacturing quality hardware cases to transport your valuables. Enduro Hardware Cases are scratch-resistant, water-resistant, impact-resistant, indestructible cases. These cases are guaranteed to perform flawlessly under any and all conditions. You must see Enduro to believe the Quality and appearance for yourself.

Interior Dimensions: 36" x 14.5" x 12.5"
Exterior Dimensions: 42.5" x 16.75" x 13.25"

Genelec 8260A Studio & Mastering monitors for sale. W Auto Cal - GLM w/ Measurement Microphone. Price includes pair, mic & software.

Tri-amped configuration with 10" bass driver, a 5" midrange driver and a 3/4" Al-dome tweeter. Digital Input: AES/EBU (single/dual wire). Input sampling rate: 32-192kHz. Speaker weight: 60.5 lbs. Control network: Proprietary Genelec Loudspeaker Manager network (GLM). System calibration: AutoCal, AutoCal calibrated microphone, GLM manual, Stand-alone.

Call Dan at 617-680-5840 or email at dan@notable.com for more details.

https://stereonomono.blogspot.com/

Revox B750 Amplifier

This compact full amplifier transfers even extreme Crescendi from breath to Furioso in impressive purity. In order to be able to build the compact amplifier Revox B750, only musical high points had to be analyzed and over nostalgic tubes strengthened. The quality of a Revox B750 amplifier can be based not simply on its wattage, but to it, how distortion-free it shows the music. In addition, it is nearly unbelievable, which an amplifier must carry out. It processes even high-complex signal forms both with smaller as well as with the largest volume in such a manner purely that remaining distortions can be only proven with most modern measuring methods.

Specifications:

Power Output: 60 watts into 4 ohms; 40 watts into 8 ohms

Total Harmonic Distortion: less than 0.2 % at any level up to rated output

Frequency response: 20 Hz - 20 kHz ±0.5 dB

Damping factor: better than 75 at 8 ohms

Inputs (sensitivity for 60 watts (4 ohms) / input im­pedance):

Tuner, Aux, Tape 1 +2: 200 mV/100 kohms

Phono 1: 1.5 - 7 mV/25, 50, 100 kohms (selectable)

Phono 2: 1.5 - 7 mV; nominal 5 mV/50 kohms

PWR AMPIN: 1 V/10 kohms

Overload levels:

Tuner, Aux, Tape 1+2: 9V

Phono 1, 2: 400 mV

Outputs:

Tape 2/Out (DIN): 6.5 mV/RL 10 kohms

Speakers A, B: 15.5 V/R min. 4 ohms;

Tape 1, 2 (phono sockets): 200 mV/RL min. 50 kohms

Tape 2 (Jack): 200 mV/RL min. 50 kohms

PRE AMP Out: 1 V/RL min. 10 kohms

Phones x 2: 15.5V/Ri 100 ohms

Signal to noise ratio, (with reference to 60 watts / 4 ohms):

Tuner, Aux, Tape 1, 2: better than 90 dB, (unweighted input termination 10 kohms)

Phono 1, 2: better than 70 dB, (unweighted input termination 2.2 kohms)

Channel separation (at 1000 Hz): better than 60 dB

Phono equalization (as per I EC 98 MOD 4 1976): 20 Hz - 20 kHz ± 0.5 dB

Tone controls:

Bass: ±8 dB in 2 dB steps at 120 Hz

Treble: ±8 dB in 2 dB steps at 8 kHz

Presence: ±8 dB in 2 dB steps at 3 kHz

Filter:

Low: 50 Hz, -3 dB (12 dB/octave)

High: 8 kHz, -3 dB (12 dB/octave)

Loudness: Volume -30 dB, 100 Hz; + 6dB, 10 kHz + 4dB

Semiconductors:

4 IC (voltage regulation), 107 transistors, 4 bridge rectifiers, 52 diodes

Current supply: 220/240 V, 50/60 Hz

Power consumption: 50 - 350 watts

Dimensions (W x H x D): 452 x 151 x 348 mm (17,8 x 6 x 13,7 inch)

Weight: 13 kg (28 lbs 10 ozs)

Call Dan at 617-680-5840 or email at dan@notable.com for more details.