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AnaMod
Analog Modelling

Belgium - The Netherlands - Luxembourg

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AnaMod ATS-1 - Analog Tape Simulator

The ATS-Analog Tape Simulator is the first product that uses the AnaMod process for modeling complex analog circuitry entirely in the analog domain. Specially developed analog building blocks are 'coded' to emulate the behavior of a complex analog system. Unlike digital plug-ins or processor-based outboard gear, there is no latency, and no A/D or D/A conversions to compromise the sound. The result is a faithful recreation of the original response, without using the original analog hardware.

All of the important features of a two-track analog tape machine are found in the ATS-1, including speed selection, bias, LF record and HF Repro EQ, and the option of adding tape hiss, if desired. The reference 'record' level, as indicated on the illuminated VU meters, can be adjusted from 0 to +12 dBu in 3 dB increments.

The ATS-1 accurately models the behavior of specific tape machines and tape formulations, and allows the user to select from up to four machine and tape types. Optional machine and tape types are available on easy-to-install SIMM cards. Standard tape formulation cards shipped with the ATS-1 are the GP9 and 456. Standard machine cards are the A800 and M79. Several Optional Tape and Machine Cards are available!

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AnaMod AM670 - compressor/limiter

The Fairchild 670 limiter is arguably one of the most famous and sought-after stereo compressors ever made. The magical way it adds density and dimension to a track or a mix has been demonstrated on many of the best-sounding records made in the last 50 years. For buss compression, the 670 Limiter is the standard by which all others are judged.

The AM670 is a faithful recreation of the classic sound and compression profile of the 670, using the AnaMod™ process to model the complex tube circuitry of the 670 and implement it entirely in the analog domain. Unlike a digital plug-in or processorbased outboard gear, there is no latency, and no A/D or D/A conversions to compromise the sound. All the functions of the original 670 have been condensed into three rack spaces.

Like the Fairchild 670, the AM670 has Left/Right (dual mono), and Lat/Vert (M-S encode/decode) modes of dynamics processing. In addition, AM670 also has a Stereo mode, which links sidechains of the two channels.

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AnaMod AM660 - compressor/limiter

The Fairchild 660 limiter is arguably one of the most famous and sought-after compressors ever made. The magical way it adds density and dimension to a track or a mix has been demonstrated on many of the best-sounding records made in the last 50 years.

The AM660 is a faithful recreation in API500 series format of the classic sound and compression profile of the 660, using the AnaMod™ process to model the complex tube circuitry of the 660 and implement it entirely in the analog domain. Unlike a digital plug-in or processor based outboard gear, there is no latency, and no A/D or D/A conversions to compromise the sound.

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AnaMod XF Tube - Two-Stage Transformer/Tube Analog Simulator

Whether tracking live or re-processing instruments, many people use a tube amplifier to shape the sound of a track. The AnaMod XF Tube provides a unique way to do this. The XF Tube is an analog model of an amplifier which consists of an input transformer, 2 tube stages, and an output transformer. Any of the stages may be bypassed and each stage has switchable parameters. The transformer stages allow for the selection of an iron or nickel core model while the tube stages provide models for both pentodes and triodes as well as configuring the stage as either push-pull or single-ended

The XF Tube, while being model based, is a purely analog device. It was created using the AnaMod process to model the complex tube d no A/D or D/A conversions to compromise the sound.

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Realios TLCompressor - The Smoothest Audio Compressor Ever

Imagine a compressor which doesn’t use a photocell, diodes, FET, VCA, or variable-mu tube for gain reduction; only a tungsten lamp. Unlike the other technologies, a tungsten lamp adds no distortion to the audio signal making it a pristine audio device. Not only does a tungsten lamp not add distortion, but it is also a true RMS device which accurately tracks the audio level.

The Realios TLCompressor (Tungsten Lamp Compressor) combines high quality electronically balanced audio electronics with a tungsten lamp as a gain reduction element providing for smooth artifactfree, soft-knee leveling of even the most difficult program material. This is especially useful for female vocals, bass, guitar and mixes.

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Realios A9031 - The Classic Dick Swettenham Olympic Studios Design preamp

Dick Swettenham’s three transistor microphone preamp design is truly a thing of beauty. The sound of these types of microphone preamps is legendary. You’ve heard it on records made at Olympic studios in the 60s and 70s. It’s now available again in a 500 series format package.

This version features a class-A transistor output stage which will drive the most demanding of loads. This feature is most welcome since the original Olympic microphone preamps were integral parts of their respective mixing desks and never meant to be connected directly to an output. Other additions include: finer gain steps (5 dB), a high-impedance FET DI, phase reverse switch, and switchable phantom power.

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Realios A9033 - A New Idea In Microphone Preamps

A clipping problem arose one day while recording a really loud vocalist singing through a U47 microphone. The problem was assumed to be the clipping of the microphone since every mic preamp in the studio also was clipping in this signal chain.

Upon further measurement it was determined that the U47 output was not clipping, it was outputing a signal of -15 dBm. Too much output for most mic preamps. The solution was the A9033. This microphone preamp was designed for this situation. However, the added benefit of passive voltage gain possibly makes this the most transparent and open sounding microphone preamp ever.

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Realios A9052 - The Classic Dick Swettenham Olympic Studios Design equalizer

Originally designed for the Olympic studios’ console by Dick Swettenham with guidance from engineer Keith Grant, this equalizer is a very useful toolbox. It is the sound of records made at Olympic studios in the 60s and 70s and is now available in a 500 series format package.
The A9052 provides extremely musical high and low shelving bands, two mid / low frequency bands of equalization as well as a two position high-pass filter. The equalization points chosen provide instant control over musical timbre. An addition to the original three transistor makeup gain stage is a class-A transistor output stage which will drive the most demanding of loads. Also included is a step-down input transformer and step-up output transformer which provides 6 dB greater headroom than the 500 series voltage rails would normally allow.

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