This EQ is designed by Simon Uter-Kirschey and realized by Peter Sikking. It is a true stereo and passive design – even no power supply – with absolute high end components in use. There are just resistors and capasitors in the signal path (point-to-point: no PCB).

The idea of this EQ is: Let it be simple in use, big in look (great feel) and tremendously clear in sound.
Et Voilá!, the GIANTi is born.

Two shelving filters with seven selectable frequencies in each case can smooth out or enhance the source material very well. Special on selectable frequencies is the opportunity to have two point of tilt-curves. So, set the same frequency on both low and high filter, i.e. 500Hz and from this selected point, bring up the higher and tame the lower frequencies or vice versa. Simple, but very effective and super fast to be on a next level.

Another keyfeature is its lowcut filter. This design is influenced by the old Neumann cutting consoles and it do its job fantastic. The real magic happens when the slew rate is on its lowest point (-3dB/octave) and working together with the low shelf to do the “PULTEC-Trick“… but in a very pleasant way. Just enough to bring the mix on a next level to continue the work on it – simple, fast and tremendously precise.

This parametric EQ design by Gustav Grinderslev is influenced by the very famous Barry Porter Net EQ. A lot of them are out there, but this one is a little more special in its “sound“. There is still the original parallel filter section of the Barry Porter one, but that’s it.

This EQ design is absolute clear and detailed. It shine in every tweaks are made. The interaction within every source material is absolute gorgeous. Clear said: This EQ is very well designed in use of its components and well thought circuitry. That’s why it is so pleasant to every signal it run through, almost invisible on its perfect side. And here is the magic – “almost invisible“.

The filters working among the signal frequencies. Thinking of a digital picture its colours are a little bit cloudy. This EQ enhance just the “real“ colours and do not change anything, unless the “right“ frequencies are chosen. The Porter Grinder bring huge clarity to the table.

This optical design utilizes a Class A discrete BE41 transistor amplifier. Customized by Tim Farrant (Buzz Audio) and powered by a special low impedance power supply for vibrant sonic detail.

Special about this optical compressor is its “soft knee“ operation points. It works very “musical“ and every signal it was run through come out very clear and detailed. The Lundahl LL1517 output transformer is another keyfeature to this compressor: Providing a nice sheen to the sound and tighten the stereo image. Suddenly, every instrument sit in its exact place wonderfully that a certain depth is created.

Another banger is its possibility to work in M/S mode. Sometimes there is just a need for touching the mid-signal a little bit to obtain the right amount of level control or using just the output level control of the side-signal to widen the stereo image a little without having phase issues.

The Whitestone Audio P331 is designed by Dave Rosen and is a Class A fully differential tube amplifier (dual-triode 6SN7GTs). The all-analog circuit is digitally controlled and supported by an onboard ROM chip.

The magic happens on Loading control. Turning clock-wise, it increase the operation point of the vacuum tubes. Selectable feed-back or feed-forward modes give wide latitude to this process. Loading is not just “hitting the tubes“. Each rotary switch position affects the tube’s internal gain. It forces the audio to different points on the tube’s response curve. This essentially allow control the tube’s operation point.

A parallel filter sits beforehand Loading and can enhance highs, lows or even both. When engaged, the signal is passed through the tubes and blended back in with the unaffected input signal at a set percentage.

Two transformer options: This unit is designed to run fully transformerless. So, the transformers are here to serve as another tone shaping tool. A solid-state output stage is the last stop on this beautiful versatile piece of gear.

The P331 doesn’t work as a typical tube loaded unit. It is much more invsible without losing its charm and doesn’t shape transients additionally like traditional tube gear does. It brings both impact and detail to the source material.

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