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"We are happy to announce the addition of two new products to our production. One is a re-working of a past model , the THORAX , the second is a new valve preamp based closely on the vmp series preamp called 'AXIS'.

Both AXIS and THORAX have finally landed as a result of many years of research , prototyping and testing by our developement team.Several different configurations were considered , circuits were drafted and tested under the most varied intense conditions , sometimes outdoors , sometimes underground or near a power station , to ascertain their value and performance. Many prototypes were built and re-built then either utilized or destroyed. The team worked hard long hours and sacrificed many luxuries that we here take foregranted like hot water and soap. The results of initial testing were well worth the effort and it was at that point that the team agreed to go into full on production.

The AXIS has more gain and a slightly more open and transient friendly response compared to the vmp which we attribute to tighter de-coupling and less passive attenuation in the circuit. The sound tends to be rather 'focused' , as opposed to 'broad' , and has a tendency to suit material with a wider dynamic range .The core circuit otherwise is similar in configuration to the vmp series with the 'Deep' and 'Air' circutry omitted for a straighter signal path.The 'Pad/Gain' controls negative feedback doubled up with interstage level between the two triode halves , this gives the function a wide range that has been optimized for the majority of situations - also very handy if one wishes to find the right spot of colour rather than increments spaced out at 10db or 15db intervals.The Hi-Pass filter is gentle and has a little more cut than the vmp 'low-cut' when comparitively aligned.The slope can be subtle or drastic and applicable to many sources where the lower end sonic information is too obtrusive. The output stage has further been upgraded to a new level to drive more current and has a quicker recovery time.Dynamic range and frequency response have been extended. Feedback paths ( both local and global ) are tastefully employed in various sections of the circuit to further improve performance and stability yet maintain an organic vibrant response for the program material.

The new THORAX , which has the AXIS preamp as a frontend , has undergone many improvements and upgrades.The compressor has a bit more flexibility and speed to it , with a tight/smooth switch(similar in behaviour to a Peak/RMS switch but also incorporating a little bit of envelope control ) incorporated into the compressor detection circuitry .An emphasis was put on attaining the quickest attck time possible with durations tight enough that they approach the theoretical limit as set by the lowest frequency in the program material.Options are available for external sidechain control ( or switching the side chain off and just using the THORAX audio path) at the flick of a switch on the front panel. This facilitates easier A/B'ing when comparing the effect of the two side chain signals , or when using an external EQ for de-essing control. The audio path is direct and preserves all the integrity and clarity of the program material that is being processed. An input trim control takes advantage of the valves colour and adjusts the driving level of the compressor audio path into the valve.The output level control is the fully transparent gain makeup parameter providing more than enough gain makeup for severe compressing duties.

The EQ was designed with enhancement in mind and is intended to be used as a delicate ' widening ' tool that can take a bland lifeless audio signal and turn it into something that can jump out of the speakers .The 'Deep' control takes advantage of the valves warming characteristics by virtue of its placement order in the circuit and is yet another colour to add to the ever increasing pallet offered by the THORAX functions.Three flavoursof 'Air' (10Khz , 12Khz and 14Khz ) are provided with a decent amount of boost. We haven't gone with the standard EQ format with middle range control in order to emphasize the upper register frequencies which although modern condenser microphones successfully reproduce , many dynamics do not reach well above 10K and we recommend the useage of these particular EQ bands to add upper sonics to compensate for this. Additionally useage of the upper air EQ bands is sometimes desirable to even eliminate the so-called vocal squelch which is often delt with severe notching around 2Khz. Using these frequencies instead preserves the natural tone of the mic-voice combination while adding definition and life to the upper range.

For proper visual monitoring of the audio signals in and out of the THORAX a large style fully buffered VU is provided .Metering options included are levels ( Pre and Comp ) and Gain reduction. The Gain Reduction metering is driven from the same Opto-Coupler as the main Compression attenuating device to ensure uniform and accurate tracking throughout the compression range.

All products are manufactured under strict conditions and personel are not permitted useage of WC facilities if quality is of sub standard or of 'bad appearance'. Components are all individually re-searched , sourced , weighed , evaluated , documented , measured , photographed , re-evaluated and matched under our close tolerance requirements so that audio paths are as perfect and immaculately balanced as possible. Calibration and alignments take place throughout the manufacturing process to ensure the performance of the circuits is always at premium specification. Signals are injected and carefully measured against the theoretically perfect mathematical models.Specifications must be adhered to in accordance to Company Quality Policy.Votes are then taken as to who should be making the next round of coffees. "

 

Sebastian Sebatron - Chief Designer , CEO and Head Of Security at ~Sebatron~