eyeseeofficial's Activity

The KM 54 was the cardioid counterpart to the omnidirectional small diaphragm microphone KM 53, introduced the previous year. The KM 54 featured an ultra-thin metal diaphragm and tube electronics.

The FG 12 Range-Bastard

equipped with Individual True- Bypass switches for both boost and frequency selections.

A discreet 6 position notched filter as designed in the early 50's.

Custom wound inductor with the ability to select either 50% or 100% of the coil. allowing 12 separate tonal bandwidths to select from.

The Boost control can be accessed independently. settings range from a unity or clean boost to a powerful pre-amp style drive with no original tone affected. Harmonic richness.

This unit allows the player access to do anything from a Revolver-era Vox tone to Any Brian May tone and all points in between.

The FG-10 creates a new palate of focused frequencies enabling the player to find and create within the confines of a multi-instrument ensemble when boosting or adding more effect to your signal path is not working. Use for chord, single note and arpeggiated passages within a large group of instruments sharing similar frequencies or add actual tonal dimensions to your to rig without compromising your original Tone.!!

The FG 12 Range-Bastard

equipped with Individual True- Bypass switches for both boost and frequency selections.

A discreet 6 position notched filter as designed in the early 50's.

Custom wound inductor with the ability to select either 50% or 100% of the coil. allowing 12 separate tonal bandwidths to select from.

The Boost control can be accessed independently. settings range from a unity or clean boost to a powerful pre-amp style drive with no original tone affected. Harmonic richness.

This unit allows the player access to do anything from a Revolver-era Vox tone to Any Brian May tone and all points in between.

The FG-10 creates a new palate of focused frequencies enabling the player to find and create within the confines of a multi-instrument ensemble when boosting or adding more effect to your signal path is not working. Use for chord, single note and arpeggiated passages within a large group of instruments sharing similar frequencies or add actual tonal dimensions to your to rig without compromising your original Tone.!!

Stay inspired and Make music!!!

G.

A huge Thank you to friends Mr.Jack Douglas and Josh Homme... for lending me their sacred ears!

The Idea

For years, we used the original Melodium 42B ribbon microphone in the Kerwax Studio setup. This awesome tool allowed us to create a unique signature for our sound.

We decided to recreate this microphone to allow people to forge their own signature with this unbelievable tool.

We bought out the brand Melodium®, which had been abandoned for decades. We worked assiduously for several years to dissect the original model and refine its new version, the Melodium 42Bn.

What is it?

The Melodium 42Bn is a new ribbon microphone directly inspired by its predecessor, the Melodium 42B.

The original microphone, made from the late ’40s until the late ’60s, had an advantage thanks to one part of its design: its ribbon was one of the largest ever made. Surrounded by 4 monster AlNiCo magnets, it delivered a smooth and warm sound through a specific step-up transformer, which was designed to change the impedance but also act as a passive filter The Melodium 42B compares favorably to its American and German peers of the same period.

The new Melodium 42Bn (the “n” is for “new”) is based on the same magnet technology, an improved motor, an overall improved mechanical construction, a custom-wound transformer allowing for a higher output impedance, and a classic XLR plug, making the microphone easy to use in a modern environment. We made the choice to remove the passive filter system, which doesn’t really belong in the studio environment anymore.

As a result, the Melodium 42Bn is the true successor of the original 42B, thanks to the use of a very large ribbon and AlNiCo 600 magnets, which allow it to keep its characteristic sound while avoiding the overboosted sounds of some microphones using neodymium technology. Modern improvements allow it to find its place in any contemporary studio configuration.

The microphone, the box, and all the accessories are made with extreme care and love, with most of the parts being locally sourced and crafted. From the microphone itself down to the wooden box, everything is handmade in France. We made the choice to work with a local foundry, a craftsman who makes the box in the Jura region, and suppliers who work with respect for the environment and people.

We achieved our quest: being able to recreate this legendary microphone with respect to its original creators, Charles Boutelleau and Emile Furn.

The French Melodium 42B ribbon microphone is back. The 42Bn is awaiting passionate audio engineers. You can buy it now.

Melodium 42Bn Specification

• Principle: ribbon velocity
• Polar pattern: figure of 8
• Ribbon: pure aluminum 2.5 µm
• Magnets: AlNiCo 600
• Magnetic field strength: 4400 Gauss
• Sensitivity: -50dBV @1kHz re 1Pa, open circuit
• Output impedance: 300 Ohms
• Connector: XLR-3M
• Dimensions: 320 x 140 x 50 mm (12 x 5.5 x 2 inches)
• Weight: 2.7kg (4.4 lbs)

Fairchild 670, is the mother of all compressors! Four years to develop, 16 vacuum tubs along with eight custom transformers is truly a faithful recreation of the original and stands alone. The 670 has truly become a coveted recording tool heavily requested by award winning engineers and producers. Creating the 670 separated us form the rest of the pack so if you’re looking to distinguish your sound check out the ADL 670.

The 670 has many practical applications for recording studios, tracking, mixing, stereo buss, vocals and instruments, live concert sound reinforcement as well as for film and broadcast work.

WIRE INSTRUMENTS 665 OD/Distortion/Fuzz

A unique distortion pedal built upon the Interfax Harmonic Percolator concept. This unusual circuit design makes use of a combination of PNP and NPN transistors which pass through even order harmonics while suppressing odd order harmonics. This is a highly modified version of that circuit, that includes a boost the overall output, softened diode clipping, as well as adding a saturation control to Q1 to introduce some adjustable low end for the rhythm players. This is version two, consisting of 15 units total built using two medium gain matched germanium and silicon transistors with LED diode clipping.

Controls:

Volume: Output level.

Saturation: This is the smaller middle knob which controls the attack characteristic. When turned to the left, it tunes in thick lows while clockwise gets you a biting top end, for wherever you need to be.

Gain: Increases distortion and tonal thickness.

This device is installed with a 9-volt power cell which is activated via the insertion of a 1⁄4” phono plug into the right side jack. To ensure a long & lengthy battery life, always unplug your cable after use. Power can also be supplied by means of an external regulated 9 volt power supply fitted with a 2.1mm plug with a negative tip and positive sleeve.

WIRE INSTRUMENTS 665 OD/Distortion/Fuzz

A unique distortion pedal built upon the Interfax Harmonic Percolator concept. This unusual circuit design makes use of a combination of PNP and NPN transistors which pass through even order harmonics while suppressing odd order harmonics. This is a highly modified version of that circuit, that includes a boost the overall output, softened diode clipping, as well as adding a saturation control to Q1 to introduce some adjustable low end for the rhythm players. This is version two, consisting of 15 units total built using two medium gain matched germanium and silicon transistors with LED diode clipping.

Controls:

Volume: Output level.

Saturation: This is the smaller middle knob which controls the attack characteristic. When turned to the left, it tunes in thick lows while clockwise gets you a biting top end, for wherever you need to be.

Gain: Increases distortion and tonal thickness.

This device is installed with a 9-volt power cell which is activated via the insertion of a 1⁄4” phono plug into the right side jack. To ensure a long & lengthy battery life, always unplug your cable after use. Power can also be supplied by means of an external regulated 9 volt power supply fitted with a 2.1mm plug with a negative tip and positive sleeve.

The Wire Instruments OC Fuzz is based on the 1968 Marshall SupaFuzz circuit, but with key improvements. The three germainium transistors (using one OC75 and two OC76 transistors) are handmatched with a bias resistor chosen to match their unique output. The OC Fuzz has increased output, for stability, as I felt it was an overall sonic improvement. The pedal is true-bypass. The brushed aluminum case is your Deloreon to travel back in time to the hey-day of fuzz. The white enclosure offers a sleek, minimalistic feel.

CONTROLS:

Left knob: controls the overall volume of the pedal when it is engaged

Right knob: increases the amount of distortion (or gain) when turned clock-wise

Battery access: remove the four screws from the bottom of the pedal

Place this pedal BEFORE any "buffered" pedals (tuners, Ibanez, Boss, DigitTech, etc.) to avoid any polarity matching problems. PNP circuit pedals like the OC Fuzz can have such conflicts when run with other pedals that do have true-bypass.

This pedal is designed to operate on battery only, like the original late 1960s PNP germanium fuzz pedals made in Great Britain.

Limited to 30. SOLD OUT.