Retro Instruments Gear Reviews
Retro Instruments creating unique and innovative recording studio gear that sounds, looks, and feels vintage and state-of-the-art in equal measure.
Marek Stycos from Audio Alchemist presents the Retro Instruments POWERSTRIP.
It’s a channel strip with an outstanding mic preamp based on vintage RCA broadcast consoles.
There are three main sections on this channel strip: a Class A tube mic preamp, an inductor-based EQ, and a variable-mu compressor.
Telefunken Elam 251, Telefunken U47, Neumann M149, AKG 414.
No eq or compression, just some reverb from Tonstudio Metzingen.
Vintage King LIVE vocal / music DOUBLEWIDE II review
Since 500 Series has grown in popularity, the Retro Instruments DOUBLEWIDE has been one of the best selling modules here at Vintage King. Watch our new demo of its successor, the DOUBLEWIDE II.
The long-awaited successor to the original 500-Series DOUBLEWIDE tube compressor featuring faster attack and release time, advanced stereo linking capabilities, and improved signal to noise ratio.
https://vintageking.com/retro-instruments-doublewide-ii
Dual-Channel Tube Compressor Recalls the Vintage Audio Gear of Yesteryear
Retro Instruments’ Revolver is the company’s latest all-tube processor, having started out as an experiment back in 2011. It seems that Retro’s Phil Moore was not satisfied with it as a viable product until the 2018 Winter NAMM Show, when he showed the first units. Revolver fits perfectly into the Retro Instruments product line and upholds the company’s unwritten mission of building—to the highest-quality standards—the “new classics” that recall the most coveted and vintage audio gear of yesteryear.
Revolver’s ratios range from a 1.5:1 (full CCW) to 5:1 (full CW). A good starting point is to set the Dual Threshold knob fully CCW so that the compressor’s threshold is least-sensitive. By using the input level control and driving more level into the detector, not only will you control the saturation of the fully differential tube path, but be able to compress to any amount using a low 1.5:1 ratio. As you turn the Dual Threshold clockwise, you get more compression at higher and higher ratios, although it may require readjusting the input gain control and the unit’s output level.
The entire detailed review you can find here.
https://www.mixonline.com/technology/review-retro-instruments-revolver-dual-channel-tube-compressor
Brandon Shock @ Higherhz.com
“The Retro Instruments 176, which is an attempt to not only bring this coveted tech to the masses, but to expound upon and heighten its capabilities.
Why you should trust this review
I’m a producer, composer, and audio engineer with a decade’s worth of experience with a wide range of gear and recording techniques.”
The 500PRE is Retro’s third 500 Series module, joining the original DoubleWide I and the updated DoubleWide II–both dual-slot, single-channel tube compressors. The 500PRE incorporates the same basic double-balanced Class-A circuit topology as in the company’s Sta-Level limiter.
WHAT DO WE HAVE HERE?
The 500PRE works both as microphone preamp and line-level amplifier; it has an input operating range of -72 dB to +12 dBu. The output clips at +18 dBu, with maximum output at +24 dBu. The 500PRE has two switchable gain ranges: high gain at 75 dB using all three of its TAD 12AT7 tubes, or low gain at 48 dB using just two of the tube stages.
SOME TECHNICAL DETAILS
The total slot current drain for the 500PRE is 160 mA. This exceeds the allowable current drain in the API Audio VPR Alliance specification of 130 mA for a single-slot module. A check in a tube manual shows that the 12AT7 requires 150 mA filament current each, and there are three.
Taking an idea from old ’50s tube television sets, the three tube filaments are wired in series and powered directly from the 500 rack’s +/-16-volt rails, or 32 volts total–that’s nearly 11 volts DC for each tube. The tubes’ plate voltage is supplied by the 48-volt phantom power supply, and the current drain is just 3 mA.
If your Lunchbox or rack does not have phantom power, the 500PRE will still work, albeit with reduced headroom as the plate voltage will automatically switch over to the +/-16-volt rails.
I ran the 500PRE in an API 8P High Current 500 rack (250mA per slot) and..
Finish reading this detailed review @ Barry Rudolph’s website: https://www.barryrudolph.com/mix/retro_500pre.html
Since the 500 Series format became en vogue, the Retro Instruments Doublewide has been one of the best selling modules at Vintage King. As its name implies, the DOUBLEWIDE takes up two rack spaces offering premium single channel compression with huge, tube-powered punch via your lunchbox.
Late last year, Retro Instruments announced a new successor to the compressor, the Doublewide II.
This new version features faster attack and release time, stereo linking capabilities and a greatly improved signal to noise ratio. The Doublewide 2 still features the signature Single and Double timing modes that made the original such a favorite on drums, bass and well… Just about everything.
The sweetest thing about a Pultec is how you can alter the frequency spectrum in such a drastic and desirable way. I remember the first time I used one (on a Russ Taff record in the 1980s). I was floored by how I could add all the presence and brilliance I wanted without any sibilance or harshness.How was that possible?
And I could grab as much warmth and fullness as I desired without the bottom end getting muddy or thick. Again, how does it do that?
The Retro Instruments 2A3 distinguishes itself by offering two channels in one unit and also adds a switchable subsonic filter (40Hz or 90Hz).
Find out more about the Pultec EQ Shootout at SweetWater Sounds post
Vintage King wanted to create something special to celebrate our 25th anniversary this year, so they teamed up with us at Retro Instruments to release a reproduction of the 175-B compressor. There will only be 100 of these limited edition 175-B recreations available worldwide and they will be sold exclusively through Vintage King.
Why bring back the 175-B? Simple. It’s a classic compressor that has been a staple since its release. Designed by Bill Putnam, the product was created to make up for the lack of compressors created specifically for recording studios. It’s huge and clear sounding tube circuitry and aggressive nature has made it a favorite of many engineers on drums, guitars and vocals.