Tonelux EQ5PThe EQ5P is a DISCRETE Parametric Equalizer with some very unique features.  Notice that the panel has no Q control.  The filter Q control is in relation to the Boost and Cut control, and uses a "Constant Energy Curve" or known as "Proportional Q" that keeps the bandwidth wider at lower boost or cut levels and becomes narrow at higher boost or cut levels.  This is musically pleasing.  The curve is identical to many classic equalizers and is one of the reasons they are preferred over newer designs.  When the PEAK button pressed, the 3 yellow "peak" buttons keep the width at a constant 1/3 octave for more precision control.  The High Frequency has a Shelving button instead of a Peak button.  Since the Constant Energy Curve is so broad in the lower frequencies, there is no need for a low frequency shelf button.With 4 bands of controls, each of the lower 2 have slightly different frequencies, allowing the lower band to go to 16 Hz, and the upper 2 bands are identical.  The IN button is a silent IN/OUT button that does not bypass the unit, but it bypasses the filters.The "INPUT" of the V4 is the normal EQ input, at a +4 dBu level. The "INSERT RETURN" input is a padded down input, making the nominal level +10 instead of +4. This can be used when the input level going into the EQ is too hot.

The Tonelux JC37 is the product of an endeavor by legendary engineer/producer, Joe Chiccarelli to create a present-day production microphone having the utility and singular sonic characteristics of the Sony C37a mics, manufactured in mid 20th century. Retaining the base elements of the original design – a vacuum tube buffered 37mm single diaphragm transducer with transformer output, the JC37 foregoes selectors for pattern, frequency response, output impedance and level of the original in favor of a cleaner signal path. As with the mic stand mount, a three meter cable is integrated into the body of the mic and connects to a Tonelux Universal Microphone Power Supply that is capable of powering two microphones as a stereo setup. Consideration to this is reflected in the carrying case, which holds two microphones along with the PSU. In order to provide today’s recording engineer with the sonic attributes of the original design, extraordinary care was taken to determine each contributing element in the signal path, as well as physical construction such as the head grill, etc. Listening tests throughout have been conducted at the legendary Sunset Sound Studios with access to their collection of C37a mics. The JC37, presently in manufacture is the first in the line of Tonelux branded mics – along with a solid state BC37 in concurrent development.

Tonelux MP5The MP5A is a DISCRETE mic preamp with a DIRECT INPUT on the front panel.  The MIC IN is transformer coupled in and out, and has a 20 dB PAD switch (effects both MIC and DIR), a 48V Phantom switch and a Phase or POLARITY switch.  The PAD and POLARITY switches effect both inputs.. The inner, or larger (silver) knob sets the mic pre gain and the outer smaller (black) knob controls the output level. We chose the fader control for the outer knob so the gain knob, once set, won't be bumped when adjusting the output level. The 8 seg LED VU meter follows the balanced output of the preamp. The level of the VU meter is adjustable over the entire range from off to +28. The PEAK led is set at +14VU or +18 dBu and can grab a fast peak and display it. An internal jumper selects the MIC PRE MAIN OUTPUT or the MIC PRE GAIN STAGE signal to feed the VU Meter. This allows the engineer to monitor the real mic pre gain or the output level of the MP5A. When monitoring the Mic Pre Gain, the meter shows the actual gain stage level, and is not effected by the output fader.The Combo XLR/Direct input is for use with a hi-z instrument, etc. The TILT tone control works with both the MIC in and DIR in and has it's own TILT EQ IN switch, which is a hard wire bypass switch when out.   When turned up, the tilt control has a 0 to 6 dB boost on the high end while cutting the low end the same.  If it is turned down, tilt will boost the low end up to 6 dB and cut the high end up to 6 dB. The Front panel XLR is multed to the rear panel XLR and that is also multed to the D-Sub "INPUT" on the rear of the V4. The "INSERT RETURN" input of the V4is a resistor isolated mic level input, that can be used when the MP1 is in a live recording situation and there is no splitter. It will bridge the mic line with 10X the impedance to minimize loading of the microphone.  Included with the MP5A Mic Pre is the ability to PFL the output to an external amplifier or to the mixer/master section for previewing the signal directly off the mic pre output.

The TX5C is the new design from Paul Wolff that addresses the complex issues with compression. With the ability to do in-module parallel mixing of the dry signal and the compressed signal, the engineer can now enjoy the parallel or "side chaining" of an instrument with itself and come up with the perfect blend of the original and compressed signal without the problems associated with in-the-box latency. The TX5C uses the proprietary all discrete TX-240 op-amp and the all discrete TX-260 output stage with the TX-280 transformer. In addition to the Input/Compressor MIX knob, the TX5C has many other unique features not found on any compressor made today. The ability of being able to switch between Feed Back and Feed Forward compression is something that is not new to Paul Wolff. With the TX5C, he decided to take it one step further by allowing the ability to fade between Feed Back compression and Feed Forward compression with the TYPE control. This feature gives the engineer the freedom to combine the smooth nature of the Feed Back type of compression with the agressive effect of Feed Forward compression. In addition to the FB-FF Type control, the TX5C has the ability to over compress with the RATIO control, which allows compression ratios from 1.5:1 to 20:1, and then beyond, with the "OVER:" ratio settings that cause the compressor to reduce the gain at a higher ratio than the gain is going into it. This means that the ratio control allows the compressor to compress an increase in signal of 10dB with a gain reduction of up to -8dB. If the signal goes up 10dB, the output will go DOWN 8dB. This becomes useful when taking a pre compressed snare and by adjusting the Attack, and setting the Ratio in the OVER: area, you can actually recover the initial impact peak of the snare. This, with the MIX control, can then be blended back with the original "flat" snare and you now have a dynamic snare again, but with a very controlled peak. The TX5C also inserted the now famous "TILT" control into the side chain of the RMS detector, so you can increase the highs and decrease the lows going into the RMS detector, virtually eliminating the effects of pumping because the Detector is seeing a more uniform distribution of energy across the spectrum instead of a bass heavy signal like most compressors. The Attack control has a X5 switch to allow for a range of extremely fast attack (in the micro second range) all the way through a very smooth slow attack, more suited for leveling. The Release control can be almost instantaneous to 3 seconds. The release circuit is a unique 3 stage circuit that auto releases the faster signals at a rate of 10 times the release of the lower frequency signals. All of this and an auto-makeup gain system that always keeps the gain at unity regardless of the amount of compression. With a 6 LED Gain Reduction meter and an adjustable link control, the TXC can be used in mono or stereo configurations with ease.