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LOW STOCK

Double Triode Limiter

2-channel, Double Triode Microphone Preaamp & Limiter

LOW STOCK

OUR PRICE

$3,650.00

$3,650.00

IGS Audio Double Triode Limiter (DTL) is more than ‘just’ a classic tube triode microphone preamp. The old-fashioned design was upgraded with a musical opto-limiter, based on a circuit used in 60’s and 70’s.

The Preamp.

DTL is a tube microphone preamp adapted to work with any type of microphone. A wide range of amplification makes it possible to record drums as well as the quietest ribbon microphone. DTL does a great job of recording tracks from external devices such as synthesizers or drums machines (like Akai MPC). Great results are achieved with reamping tracks from DAWs. DTL adds a nice tube saturation to the sound. The high impendance inputs (HiZ) allow for connecting an electric or bass guitar directly into the grid of the first step of tube amplification (Typical HiZ solution).

The Limiter

Additional device capabilities are activated by the Limiter section. This can be used to limit peak levels of the input signal. The component in charge of compression is an IGS Audio custom designed photocell. It can improve the overall dynamics of the mix and give it a brighter sound. This is a very versatile device for audio processing.

Full of features.

The audio path of the preamp is a two-stage tube amplifier with an individual drive on both steps.

Device type
Optical Compressor: Yes
Input & Output
Phantom Power: Yes
Input Impedance (balanced): 300 Ohm, Carnhill transformer or 1M Ohm for Hi-Z instrument input
Input Pad: Yes, -20 dB
Output Impedance (balanced): 600 ohm, Edcor transformer
Audio transformers: Yes
Levels
Operating Level: +4 dBu
Max output level: +22 dBu
Max. gain: 60 dB
Max Gain Reduction: 18 dB
Bandwidth
Frequency response: 20Hz to 20kHz; +/- 0.3dB
Distortion (@ 20 Hz – 20 kHz)
THD+N: <0.1%
Front Panel
VU Meters: Yes, output level
Power
Voltage: 115/230V AC, 50 – 60Hz
Power consumption: 40W
Power supply: internal
Others
Tube set: 6N1P, 6N2P

FROM THE SHOP FLOOR

“It rejects off-axis sounds brilliantly, so there’s no danger of other drums or instruments bleeding into the kick drum recordings. This saves a lot of time and effort during the EQ stage of the mixing process.”

Darren, Head of Technical Sales

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