TK Audio

The BC1-THD provides smooth bus compression that applies for both mixing and tracking. Engineers call it “The Magic Glue” when the BC1-THD’s transparent compression strengthens mixes without compromising clarity. The built-in blend control makes it easy to apply parallel compression by adjusting the blend of dry and compressed signal. A switchable sidechain filter can be applied which makes the BC1-THD less responsive to low frequency energy. The THD function adds more harmonics to the signal and the “grab” mode selects a harder threshold knee on all four ratio settings. Smooth and transparent compression will never go out of fashion. Three HPF frequencies THD function that adds more even harmonics Grab function that selects a harder threshold knee Blend control for parallel compression All controls stepped for easy recall

TK Audio’s flagship preamp, DP2, has been replaced by the all new DP3. The DP3 is a unique hybrid design including both vintage and modern circuits. The midrange crunch of the germanium sound of the mid 60’s, the low mid punch and thick sound associated with British class-A from the early 70’s as well as the more modern tone from the 80’s and 90’s. It contains not just our well proven input stage and germanium circuit, we have also incorporated a new saturation circuit that together with the vintage class-A stage gives you lots of character choices. The input stage is designed around a high quality Swedish Lundahl transformer and a hi-gain stage followed by selectable saturation and germanium circuits for more color and harmonics. Instead of switching output stages as it was done in our previous models the class-A stage is now inserted in front of the output level control letting you drive the transformer harder without overloading your A/D converters. This also make the output less sensitive to different load impedance. The class-A stage uses a heavy custom made Carnhill transformer that produces a fat and punchy sound with mid-range character and a warm top end. The Hi-Z instrument input has a separate activating switch so that you can let your instrument stay connected all the time. The Hi-Z direct mode function bypass the input transformer and input stage and send the instrument signal direct to the HPF and the selectable saturation and germanium circuits. Direct mode gain is +14dB which is perfect for bass recording together with the class-A stage. The sweepable HPF goes from 30Hz to 400Hz which allows precision crafting of the low end.

Blend controls: from dry to wet in 41 steps In L/S and In R/M: activates respective channels Link: Left/Mid channel In switch and Blend knob controls both channels Cue sw: L/M and R/S Out XLR: balanced send jacks L/M and R/S In XLR: balanced return jacks

The M/S Station is a new mastering and main bus tool with four separate functions divided into two sections including an advanced cue function. Section 1 is a parallel insert with M/S function allowing the user to use separate blend controls for the mid and side signals. For maximum precision the blend control(s) has 16 positions from dry to wet.Section 2 consists of three parts, an elliptical EQ with 16 frequencies, a width control from 0-200% and an advanced cue function.The two sections are normally linked internally but can be used separately with their own balanced inputs and outputs by removing four jumpers inside the unit (see unlink section 1 and 2). This way you can use them at different locations in your setup. Section 1Parallel insert with M/S function: With the insert section you can insert an external processor like an EQ, compressor, distortion unit etc, and then dial in a mix between the processed signal (wet) and the unprocessed signal (dry). For maximum precision the blend control has 16 steps from dry to wet. If you activate the M/S function your signal will be coded into mid ( L+R ) and side ( L-R ). The mid signal normally contains all the center info such as bass, kick drum, lead vocal etc and the side signal contains all the panned parts of the signal. In M/S you can process the center signal and side signal separately with different types of processors. With the blend split function you get separate blend controls for the mid and side signal. In M/S mode the blend function takes place before the signal is decoded back to left/right. With the insert cue function you can monitor the L or R signal after the blend control separately, mid or side if M/S is active. Section 2Elliptical Equalizer: With the elliptical EQ all frequencies below a selected frequency will be made to mono. This function can make your low end more focused. It’s an old technique used when mastering for vinyl. Too much low end in the side channel (vertical) can make the needle bounce slightly and cause distortion. By using a 12dB high pass filter in the side channel you set the frequency under which the signal will be processed as mono. As a HPF introduces phase shift to the signal, a phase correction is added to the mid channel keeping channel separation as good as possible. The EEQ has 16 frequencies from 36Hz to 302Hz. With the EEQ cue function you can monitor the signals that are mixed between the channels. Stereo width control: By adjusting the amount of side information in the stereo mix, the width can be adjusted incrementally from mono to extra wide. With this control you can fine adjust the stereo image after you have used the M/S insert and EEQ.Cue function: With the cue function you can monitor the left, right, mid or side signal separately. By pressing the cue sections Insert switch you can cue the parallel inserts return signal by pressing L or R. (this can be done even if you run the two sections separately at different locations in your chain) If you select the EEQ switch on the cue section you can monitor the low frequencies fed from left to right or right to left. The cue section is a passive design using relays to select the cue source.Unlink section 1 and 2: If you like to use the two sections at different locations in your chain you can unlink them by removing the four jumpers inside the unit (see picture in the manual). You can then use them separately with their own balanced inputs and outputs. The two sections are linked as default.

* Selectable output stages, electronically balanced or discrete Class A.* Sweepable high-pass filter, 30-400Hz, 12dB/oct.* Discrete DI audio path.* 70dB of clean gain.* Selectable saturation circuit for extra harmonics.* Discrete Class A output stage with Carnhill transformer.   Overview SP502 is a new single slot 500-series preamp with a unique hybrid design including both vintage and modern circuits. A new transformerless input stage forms a clean and transparent front-end, together with the two selectable output stages you can get the low mid punch and thick sound associated with British Class A from the early 70’s as well as a more modern clean tone from the 80’s and 90’s. SP502 is also equipped with a saturation stage that can be selected to add some extra harmonics to the signal. The sweepable HPF from 30Hz to 400Hz allows precision crafting of the low end. A new function is that the instrument input can be routed directly to the output stage without passing the preamp stage (the saturation circuit and HPF can still be inserted). The DI direct mode together with the vintage Class A stage gives you a very nice discrete sound path for bass recording. Features: Gain switch in 5dB steps: -15 to -70dB. +15dB to -40 with -30dB pad selected 48v phantom power Selectable output stage: vintage transformer balanced Class A or electronically balanced Sweepable high pass filter: 30-400Hz, 12dB sloop Saturation: inserts a saturation stage for extra harmonics after the input stage Polarity switch Direct: routs the instrument input directly to the output stage In: activates the instrument input Hi-Z input, instrument input with more than 1Mohm input impedance Output level control Illuminated switches (except for the phantom toggle switch which has a separate LED)

Ratio which increases with the signal level. Two ratio ranges, 1:1 to 20:1 or 1:1 to 2:1. Five RMS settings, fast to slow and an adaptive mode. Blend control for parallel compression. Feed-forward mode. The T-Komp has a unique design which offers a modern take on the old vari-mu ratio curve. The ratio is level dependent and increases with the signal level, a feature that will give you numerous possibilities. To make the T-Komp more useful it has two ratio ranges. The first one goes up to 20:1, perfect for instrument tracking and smashing drums etc., the second, 2:1, is a more narrow range which makes it more suitable for bus compression. The RMS detector has five settings, four from fast to slow where number four, the slowest, is similar to the old 160VU. The fifth position is a program dependent adaptive mode. Input impedance: 24kohm Output impedance: 50ohm Max in/output level: +26dBu Frequency response: 20Hz to 20kHz +/- 0,1dB Signal to noise ratio @ 0dBu: better than 94dB THD: level and compression dependent, mostly even harmonics Features:ThresholdMake-up gain: 0 to +20dBBlend control: from dry to wet Average timing: 1mS / 40mS (most useful for peak limiting) 5mS / 200mS 10mS / 400mS 25mS / 1000mS (similare to the old 160vu) Adaptive mode The attack and release are locked in relationship to each other. In: compression in/out2:1: selects a more narrow ratio rangeGain reduction meter Specifications and components may be changed or updated without further notice.

The T-Komp has a unique design which offers a modern take on the old vari-mu ratio curve. The ratio is level dependent and increases with the signal level, a feature that will give you numerous possibilities. To make the T-Komp more useful it has two ratio ranges. The first one goes up to 20:1, perfect for instrument tracking and smashing drums etc., the second, 2:1, is a more narrow range which makes it more suitable for bus compression. The T-Komp can be selected between feed-forward mode for a punchy, modern response or feed-back mode with a smoother, more musical response. The RMS detector has five settings, four from fast to slow where number four, the slowest, is similar to the old 160VU. The fifth position is a program dependent adaptive mode. Input impedance: 24kohm Output impedance: 50ohm Max in/output level: +26dBu Frequency response: 20Hz to 20kHz +/- 0,1dB Signal to noise ratio @ 0dBu: better than 94dB THD: level and compression dependent, mostly even harmonics Features:ThresholdMake-up gain: 0 to +20dBBlend control: from dry to wet Average timing: 1mS / 40mS (most useful for peak limiting) 5mS / 200mS 10mS / 400mS 25mS / 1000mS (similare to the old 160vu) Adaptive mode The attack and release are locked in relationship to each other. FB: selects feed-back modeHP filter: 150Hz, -6dB octaveIn: compression in/out2:1: selects a more narrow ratio rangeGain reduction meterLink switch115v or 230v, selectable Specifications and components may be changed or updated without further notice.

TEQ is a dual-band EQ based on the classic Baxandall circuit from the 1950s, loved by engineers for its smooth and natural sound. The 10 frequencies on each band extends from 30Hz to 720Hz and 1kHz to 24kHz and both bands can be switched between shelf or peak. The cut/boost range starts with 0.25dB steps up to 1dB, then continues with 0.5dB steps up to 4dB and for more cut or boost the Ex switch extend the range up to +/-8dB. TEQ has a low Q (0.5) for gentle tone shaping and musical adjustments. With the HPF removing unwanted low-end rumble, mud and bass build-up from the mix is easy, and the LPF removes harshness and smooths the high-end. HPF and LPF have 6 frequencies each. To make the TEQ even more useful it has a built-in M/S function to effortless adjust the mid and side channel separately. TEQ also has a cue function to monitor left or right channel separately or mid side channel if M/S mode is active.

The TK-lizer 3 is a mastering and mixing equalizer based on the renowned Baxandall circuit, known for its smooth and natural sound character. It features three frequency bands with selectable frequencies, switchable peak and shelving filters, a high-pass filter, and dedicated gain controls for precise tonal shaping. In addition to standard Left/Right processing, it offers advanced Mid/Side functionality for stereo width adjustment, side-channel EQ processing, and low-frequency mono compatibility. Compared to its predecessor, the TK-lizer 3 includes redesigned audio circuitry, improved channel separation, and a refined vintage-inspired design with Bakelite knobs and toggle switches.

Features: Send: TRS jack Send level: 0 to full Return: TRS jack Return gain: 0 - 20dB Polarity: flips the polarity of the return signal Regulated, internal power supply with a toroidal transformer Selectable between 115 and 230V Power consumption: 12VA Specifications and components may be changed or updated without further notice.

The Transformer is a recording and mixing tool that transform your sound by using several different harmonic stages. The unit is divided into two sections, a harmonic generating section and a transformer coupled class-A stage with a punchy, vintage tone. If you’re working mostly in the box this is the perfect tool to add some analog warmth, punch and color to your sound/mix. The first section contains three different harmonic stages; a transformer saturation stage, a passive saturation/clipping stage and an active germanium circuit. These three stages does not only generate different kinds of harmonics, they also shape the tone curve in different ways. With a blend function you can blend in the desired amount of harmonics. You can also choose to process the mid and side channels separately by activating the M/S function. The second section is a selectable vintage transformer coupled class-A stage.

The Transformer is a recording and mixing tool that transform your sound by using several different harmonic stages. The unit is divided into two sections, a harmonic generating section and a transformer coupled class-A stage with a punchy, vintage tone. If you’re working mostly in the box this is the perfect tool to add some analog warmth, punch and color to your sound/mix. The first section contains three different harmonic stages; a transformer saturation stage, a passive saturation/clipping stage and an active germanium circuit. These three stages does not only generate different kinds of harmonics, they also shape the tone curve in different ways. With a blend function you can blend in the desired amount of harmonics. You can also choose to process the mid and side channels separately by activating the M/S function. The second section is a selectable vintage transformer coupled class-A stage.