HIGH END AMPLIFICATION, AS CLOSE TO THE SOURCE AS POSSIBLE

BigAmp is a small sized high quality JFET instrument preamp which performs equally well on stage as it does in a studio environment. It has a 1/4" female jack input which accepts signals ranging from the piezo pickup of a double bass or cello to the line level output of a synthesizer. BigAmp's low noise class A amplifier provides 15 dB's of high end amplification and converts the instrument output signal from unbalanced to balanced. An extra benefit might be BigAmps small size, making it ultra portable.

DAW Recording
BigAmp is an ideal companion for DAW recording. By recording a clean signal directly to disk you get the advantage of being able to sculp the sound of your recorded track with your favourite plugin's during mixdown.

How it works
Stick BigAmp on a microphone cable, plug in your electric guitar, Bass(or any other intrument with a jack output) and switch on phantom power. BigAmp goes directly into a balanced input of your mixing desk,
it can also be used as a frontend for your microphone-pre or channel strip in a (home)studio setup.
BigAmp matches the high impedance unbalanced output of your guitar with the balanced low impedance input of a mixing desk/microphone-pre.

BigAmp Piezo

When a piezo transducer is connected to a preamp with a regular input impedance, it often sounds uninspiring. While the output level of a piezo transducer is relatively high, it typically has an impedance of several Mega Ohms which is much higher than even the high impedance input of instrument (pre)amps and mixing consoles. This high output impedance prevents the transducer to deliver its potential output signal to the preamp and restricts transient response. Additionally, the high impedance of the piezo transducer, combined with the capacity of the cable to the preamp, forms a low pass filter which has a negative audible effect on high frequency response. BigAmp Piezo is a BigAmp version specially designed to overcome above issues. It has a 5 Mega Ohms input Impedance, which enables the piezo transducer to deliver its full potential. Signal amplification is low (3dB) to allow for the highest possible headroom.

Because of its small size BigAmp piezo can be connected as close to the transducer as possible which keeps cable capacitance to a minimum.

BigAmp Piezo can be distinguished by a green dot below the TritonAudio label.

Features

1. Low noise Class A JFet amplifier
   

2. 15db amplification
   

3. single ended amplifier topology
   

4. Balanced output
   

5. Z-in 1M Ohm
   

6. Lots of headroom
   

7. 18-48 v phantom power

Inspired by the positive results of the BigAmp we wondered if a phantom powered, high quality preamp preceding the microphone cable could improve the sound quality of a ribbon or dynamic microphone. the results were more then convincing. Enter FetHead, our newest innovation in phantom powered preamp design. While testing FetHead we noticed an overall increase of sound quality and a change of tonal character of the attached dynamic microphone towards a more open, controlled sound.

Which microphones benefit

In short, we noticed an improvement on all tested dynamic microphones. A Shure SM58 for instance, sounded more responsive over a broader frequency range. When mated with a high-end dynamic microphone like a Sennheiser MD441, FetHead really shines. Ribbon microphones benefit greatly too because of a much better impedance match, which lessens the load on the microphone, thus giving it better transient response characteristics. FetHeads high quality, low noise signal amplification also extends the usable range of a ribbon microphone, by making it more suitable for recording softer passages without introducing noise. Some ribbon microphones do not tolerate phantom power, FetHead's circuit uses Phantom power but shields it from its input (and the microphone's output), as a result it offers effective protection to the microphone.

Low noise

Fethead uses low noise jfets configured as a double class a amplifier. Jfet's are among the most quiet amplifying elements available today. The calculated noise figure of the FetHead based on the jfet's datasheet is lower than we are able to measure. In the real world the noise injected by a FetHead depends on the noise generated by the pantom power supply, if the power supply is quiet, FetHead is quiet.

How it works

Attach FetHead on to a balanced microphone cable and plug it in a dynamic microphone, switch on phantom power and enjoy FetHeads Natural open sound!

FetHead Filter

FetHead Filter is a Fethead version with a built-in 6dB/octave high pass filter with a corner frequency of 220Hz. It is specially designed for microphones which exhibit an excessive proximity effect / low frequency response, like long motor ribbon microphones. The components which make up the filter are not directly in the signal path but are applied to the components which set the gain of FetHead Filters amplifier, thus making it frequency dependant. This way the sonic character which makes a normal FetHead attractive to the ear is preserved.

FetHead Filter can be distinguished by a green dot below the TritonAudio label.

FetHead Phantom

FetHead Phantom is a FetHead version which allows phantom power to reach the microphone. It was developed after several requests from different audio engineers to build a FetHead for condenser microphones with low output. We tested FetHead Phantom on a broad range of condenser microphones and are very happy with the results. It works well with electret microphones like the countryman or an AKG C1000. These are microphones which consume very little power, FetHead Phantom also works great on "real" condenser microphones like a U87 or even with an Oktava MK319 which consumes a hefty 8mA!

FetHead Phantom can be distinguished by a red dot below the TritonAudio label.

Features

1. Ultra low noise Class A JFet amplifier
   

2. 20db amplification (@ 1000 ohm load)
   

3. double single ended amplifier topology
   

4. Balanced output
   

5. Lots of headroom
   

6. Z-in 22k
   

7. 18-48 v phantom power

THE ULTIMATE LEVITATION DAMPER

How it works

Place them under your record player, cd/dvd player or under your speakers and isolate your equipment from feedback.

Neolev magnetic levitation dampers are our latest development. Placed under CD/DVD players, turntables, speakers etc., they eliminate acoustic feedback and mechanical distortion to bring out the full potential of your equipment. Cancellation of contact induced resonance is very effective as forces perpendicular to the device are never transferred. Based on two repelling Neodium magnets one single NeoLev lifts up to 8kg. NeoLev's are adjustable to ensure perfect levelling.

NeoLev Sonic improvements

1. Higher resolution
   

2. Increased soundstage
   

3. Greater dynamic range
   

4. Improved transient response
   

5. More clearly defined bass
   

Applications

1. Turntables
   

2. Speakers
   

3. CD/dvd players
   

4. Preamps
   

5. Power amps

D2O is a low noise discrete microphone preamp inspired by the famous German V series preamps of the 40's and 50's. D2O's general layout consists of a Lundahl 1571 input transformer followed by 2 single ended gain stages. The second gain stage can be selected to be either a high gain Fet or a Tube stage. when the high gain, all Fet circuit is engaged D2O becomes an ideal companion for microphones with a relatively low output like ribbon microphones. With the hybrid Fet/Tube circuit is engaged the sonic benefits of having a tube in the signal path can be utilized. Output drive is supplied by a discrete low impedance Fet buffer with superb sonic properties. Quality Paper in oil coupling capacitors are used, all other used components are high-end grade aswell.

Low noise / low esr power supply

In single ended preamp designs the quality of the power supply is crucial, D2O is fitted with a discrete low esr voltage regulator built with low noise components enabling optimal performance to the amplifier circuit.

switchable transformer ratio / input impedance

By selecting the transformer ratio switch a selection between a 1:1.75 (LO) or 1:3.5 (HI) transformation ratio can be made. Besides setting voltage gain, this also switches the input impedance of the amplifier between 2.25KOhm and 6.25 KOhm. Different transformation rate and impedance selection options are very desirable as they allow for more sonic options from the connected microphone.

selectable all Fet or Tube-Fet circuit

The Tube-Fet switch determines whether D2O functions as an hi gain, all Fet or hybrid Tube-Fet circuit, each with its unique sonic character.

Specifications:

Gain D2O all Fet: 67 dB

Gain D2O Tube/Fet: 56 dB

EIN: -127dB

Headroom: 30 dB

Input impedance: 2,25 KOhm / 6.25K Ohm

Output impedance: 50 Ohm

Power supply: 24V AC

Input: XLR

Output: XLR / 1/4" jack

More features:

Stepped attenuator

Phase reverse switch

Phantom power

Overload indicator

D2O vs. V72

Samples made with D2O and its grandaddy, the Telefunken V72.

recording notes.         

D2O on clean guitar

D2O on heavy guitar

D2O on close mic drums

D2O on room mic drums

V72 on clean guitar

V72 on heavy guitar

V72 on close mic drums

V72 on room mic drums

D2O 500 series

D2O is also available as a single slot 500 series format unit. The required operating voltage is provided by a purpose designed low noise discrete dc/dc step-up converter which feeds its power to D2O's low noise, low esr voltage regulator. Further internal operation is equal to the standalone version.

Low noise discrete microphone preamp