The Design

The TUBECORE 3U is a fully symmetric transformer balanced stereo mastering compressor. The structure is based on the typical vari-mu solution. Apart from the classic INPUT, THRESHOLD and OUTPUT controls it introduces switchable high pass filter in the sidechain, parallel compression (MIX knob), independent ATTACK and RELEASE switches and user replaceable tubes accessible from the back of the unit.

Comfort of use

The Tubecore was designed as a studio mastering compressor. It is built using the 3U enclosure, which improves front panel clarity and makes it easier to replace tubes located at the back. The compressor allows you to work either in dual mono or mid/side mode (M/S). The Mode switch has two bypass positions – they both do the same, but we added the second one for your comfort and quick A/B comparing.

The Tubes

The design of the Tubecore 3U is based on the possibility to replace the tubes. As a user, you can choose between a few types: 6N1P-EW (6N3P-EW) – standard set of tubes, “standard” IGS compression, 6BC8/6BZ8 – tight, transparent, punchy compression, 6386 – legendary compression, by famous twin triode, 5670 – deep and dark tube compression. The User's Manual describes in detail how to replace tubes, so it is quick and straightforward.

The Quality

Every single TUBECORE 3U is hand made with high quality, matched components (1% metal film resistors, Wima caps). It is equipped with 6N1P-EW (6N3P-EW) NOS tubes and individually calibrated to give you the unique and unspoiled experience of one of the best vari-mu compressors in history. It is equipped with Carnhill and Sowter audio transformers.

$ 2890.-

The Design

The V8 compressor is built only with discrete components and six Carnhill transformers (three per channel). The element responsible for the compression is the bridge, composed of 4 matched pulse diodes. The device is a dual mono unit with the option of linking the sidechain circuitry. All controls are stepped, for channel matching and recall.

The punch and clarity your mixes are lacking

The IGS ONE LA is an input and output transformer balanced, full tube device. The input of the system includes a Sowter 4383 transformer, the output an Edcor 15k/600. Two 6N1P-EW dual-triodes are installed on the audio circuit, while the compression circuit is equipped with the 6N2P-EW triode and the 6AQ5 pentode, which control the work of the T4Bx photocell.

Controls

The One LA 19" has simple controls: a Peak-Reduction knob controls the gain of the side-chain circuit, and therefore, the gain reduction threshold; Gain Control for the make-up gain; and a Limit/Compress switch to alter the compression ratio. The VU meter may also be switched to show gain reduction or output level.

The T4Bx Optocell

The original solution used the TELETRONIX electroluminescent panel, that was illuminating the photo resistor. The idea of opto-compression originated in the past is still being cultivated today. IGS Audio has developed its own photocell equivalent to T4B called T4BX. The use of carefully selected components in the production of the T4BX photocell, and their individual measurement and matching, result in completely repetitive sound qualities of each device.

Matched pairs are also available. The link socket is located on the rear panel. The RCA-RCA cable is all you need to link two units. Perfect stereo matching is achieved by hand selected tubes and Elma switches.

$ 1750

The Legacy

The Volfram Limiter is a dual mono version of the legendary 1176 archetype.

The core of versatility of sound of the 1176 lies in the balance between the Input, Output, and Release knobs.

Legendary FET design, two linkable channels, Wet/Dry mix knob for parallel compression.

$ 1770

The Double Triode Limiter (DTL) is more than classic tube triode microphone preamp. The old-fashioned design was upgraded with a musical opto-limiter. The limiter is based on circuit used in 60’s and 70’s.

The Preamp

The DTL is a tube microphone preamp adapted to work with any type of microphone. A wide range of amplification makes it possible to record drums as well as the quietest ribbon microphone. DTL does a great job of recording tracks from external devices such as synthesizers or drums machines (like Akai MPC). Great results are achieved with reamping tracks from DAWs. The DTL adds a nice tube saturation to the sound. The high impendance inputs (HiZ) allow for connecting an electric or bass guitar directly into the grid of the first step of tube amplification (Typical HiZ solution).

The Limiter

Additional device capabilities are activated by the Limiter section. This can be used to limit peak levels of the input signal. The component in charge of compression is an IGS Audio custom designed photocell. When the limiter is working it is indicated by a LED labeled “Limit” on the front panel. The limiter controls the louder parts of the signal and prevents from the digital clipping at the inputs of you ADC. Another trick could be using the DTL as a drum compressor or mix buss compressor. It can improve the overall dynamics of the mix and give it a brighter sound. This is a very versatile device for audio processing.

Full of features

The audio path of the preamp is a two stage tube amplifier with individual drive on both steps. The saturation at the first step depends on the input signal level (with possibility to use Pad -20dB). The saturation of the second step is dependent on the Output regulator. Inputs and outputs are balanced with Sowter (UK) and Edcor (USA) transformers. The anode voltage is set close to 300V DC. For each of the channels Output and Limiter threshold can be regulated smoothly. The featured switches are: GAIN, +48V, Mic/HiZ, Phase, Pad -20dB. Hi-Z inputs are located on the front panel. The meters show output signal level.

Precise & All stepped controll

IGS IQ Equalizer is a modern application of the noble sound of analog equalizers. This very precise, parametric equalizer works great on every stage of production. It can add marvelous color to the signal, while maintaining the whole character of the original sound. This is a unique phenomenon possible only with analog processing. As opposed to digital eq it maintains neutrality and clarity on every setting. The simultaneous boosting and cutting of similar frequencies are the core secret of this device.

This is the typical effect of analog filters in the audio path. Most of the sound correction is in micro-manipulation. The frequency range is divided into 4 bands: Sub, Bass, Mid, High. In every band the frequency and boost/cut level can be set.

Great, here s your stereo unit

Many sound engineers believe that the passive equalizer is a cure for all digital evils. A distinctive characteristic of the IGS Audio Rubber Bands Equalizer is its stereophonic structure, where the manual selecting of components with an accuracy of 1% allows for perfectly synchronous manipulation of both channels. The inputs and outputs are transformer balanced.

Organic amp

The Rubber Bands EQ consists of two blocks: The first block is a classic passive filter well known from the EQP-1 Pultec equalizer. The second block is a specially designed two-stage tube amplifier called Organic Amp.

Sound shape

The new design includes a bypass relay, which allows you to instantly compare the results of your work. The equalizer has been divided into 4 sections: 2 for bass and 2 for treble. Frequencies are being selected with stepped switches. Boosting and cutting are controlled continuously. Manipulators featured are Bass Boost, Bass Cut, High Boost (with the choice of Q) and High Cut. Interactions of filters that allow simultaneous boosting and cutting of certain frequencies can produce amazing sound effects.

The Design

The IGS Springtime is a 4-channel analog studio reverb built using pairs of springs. One short and one long pair. Every channel has separate wet and dry volume knobs. Also, each channel has a 3 band EQ for the wet signal.

What is does

The Springtime fills your room with sound. It glues your mix and enriches the individual tracks. It adds lovely warm color to the midrange. Without EQ, it sounds perfect. With EQ, you can add more definition if you need it.

Every Day use

Try stereo buss send for music tracks to channel 3 and 4 (long springs), mono vocal to channel 1 (short) plus any solo, mono instrument to channel 2 (short). Sometimes even individual instruments can be sent to both kinds of springs in parallel. If you plug it into the insert use 100% Dry and 10% Wet. On sends use 100% Wet, 0% Dry.

Sounds amazing on drums, guitars, piano, vocals, real orchestra, horns, busses, stems, full mixes.

576 Blue Stripe

What it is

The FET-type solution was first used for its application in the legendary UREI 1176 compressor from the 70s. The most important feature inspired by revision A is the input transformer used and pure class A output stage. The compressor is equipped with a relay bypass, 2:1 Ratio and Slam Mode accessible on the front panel.

What it is does

The 576 BS’s major selling point is its ultra-fast attack time — 20 µS. The 576 BS Ratio buttons allow four different modes of operation: 2:1 Ratio (soft compression); 4:1 ratio (moderate compression); 8:1 ratio (severe compression); 12:1 ratio (mild limiting); 20:1 ratio (hard limiting); S – SLAM, All Buttons In trick mode.

572 Red Stripe

In Short

572 Red Stripe is a mic/instrument preamp designed in the 500 standard. The module is transformer balanced on input and output using Sowter and Edcor transformers. All regulators on the front panel are stepped switches. Excellent for recording any sources, including line signals from microphones, instruments like guitars or keyboards (Hi-Z input at the front of the unit).

in detail

This is an excellent preamplifier, that can be used with a variety of sources: line signals, guitar pickups (via Hi-Z input), dynamic, condenser and ribbon microphones. It always provides outstanding results. With one knob gain control (41-stepped) you can push it nicely, but still make sure that you don't overload the next stage of your signal chain. The second stage overloading gives some sweet harmonics vibe. Adds a lot of unique flavour. HiZ input is accessible from the front of unit. Handy!

Getting specific

IGS 572 Red Stripe, single channel, pure tube mic preamp in a 500 module, two double-triodes (JJ ECC803S and JJ ECC81), UK made input and American output transformers, -20 dB interstage Pad, polarity control, +48V phantom power, low-cut filter, DI-Input 1/4" TS Jack 1MOhm, max. Input Level: +16 dBu, max. Output Level: +28 dBu, back-lighted analog VU-Meter, +48 and clip LED, Made in Europe.

S-Type

S-Type 500

The S-Type 500 is best known for its ability to replicate the buss compressor of the legendary British large format console. The heart of the compressor is the THAT integrated circuit instead of the now unavailable DBX. The analog path is balanced with ultra-fast op-amps. This is the source of the completely transparent sound. A minimal level of noise allows the device to be used in any musical setting. We have added Sidechain HPF, which allows the user to select the lowest frequencies to pass the unit uncompressed, enabling your mixes to breathe and avoid pumping.

IGS S-TYPE 500 is a stereo compressor, featuring a large GR meter and four fast, modern op-amps on inputs and outputs, providing the perfect balance of this stereo circuit. Two channels of the unit are being summed together and used to control both VCA stages. This allows you to use the

Sidechain functionality

S-TYPE 500 as an external side-chain compressor, where the signal goes through EXSC input. Last but not least, the MIX knob allows for parallel compression, so you can crush the living hell out of your tracks, and blend them with the dry signal for that NY drum sound. Overall, the S-Type is a very creative device.

Magic Glue

GS S-Type gives you the sound of compression from your favorite records, it's the magic glue for your mixes. It’s really hard to make it sound bad - from a gentle hug to an aggressive crush and anywhere in between.

One LA

Two knobs of Happioness

The IGS ONE LA 500 is an opto-compressor built for the 500 series format. This is the first high voltage vacuum tube 500 series module that is offered by IGS. It is powered with 250V DC from an on-board voltage converter, so it can be plugged into any 500 series rack equipped with a standard power supply.

Every single ONE LA is hand made with high quality, matched components (1% metal film resistors, Wima caps). It is equipped with JJ tubes and individually calibrated to give you the unique and unspoiled experience of one of the best opto-compressors in the history - the Teletronix '68 LA-2A. We have spent hundreds of hours designing the ONE LA, to make sure that it is as simple to use as it is versatile. Not only for harmonically rich vocals and strings, but also for huge and beefy drums and bass instruments.

There is sommething else

hree audio transformers (Sowter and Edcor in audio path and OEP in sidechain) have been used to provide excellent performance and with only two knobs and a single compressor/limiter switch, there is nothing that could go wrong. Additionally, you can replace the photocell easily (special version available)

RB 500 ME

Mstering Edition

RB500ME is a stereo passive equalizer packed into a double 500-series module. This beast is equipped with transformer balanced inputs (Carnhill) and outputs (Edcor) as well as a class-A driver circuit. Of course the entire filtering section is passive and it mirrors analogue equalizers from the 60s. There is separate frequency selector for low cut and boost sections. Top quality potentiometers and ELMA switches were used to achieve outstanding performance.

RB 500

Pulteq Style EQ

Rubber Bands 500 is a passive equalizer absurdly reduced in size. This tiny module is equipped with transformer balancing on input and output (Carnhill) as well as a discrete driver circuit. Of course the entire filtering section is passive and mirrors analogue equalizers from the 60s. There is separate frequency selector for low boost/cut sections. And you get the true bypass switch as a bonus!

Alter 500

Monophonic FET Limiting

The ALTER 500 is a FET compressor built in the 500 standard. The FET-type solution was used for the first its application in the legendary UREI 1176 compressor from the 70s. The ALTER is a single-channel unit with stepped input and output controls. The Ratio switch has six positions, including two additional to the original 1176 1:1 and 2:1 settings. Slam Mode can be turned on with a separate switch, working regardless of the Ratio settings. Attack and release times can be set to Fast / Mid / Slow with 3-pole switches.

So much stuff insideThe compressor is equipped with a relay bypass on the front panel. The input is balanced with a modern, low-noise op amp and the output with a Carnhill transformer. The circuit has two amp stages, between which is the output control. The stage amps are based on the discrete 990 circuit. The level of gain reduction is shown by a 20 point led bar.

Neox 500

The Preamp

IGS Audio NEOX 500 is a microphone preamplifier and compressor combo fitted into a single 500-series module, that can work with any API 500 Series compatible rack. It was created using advanced transformerless design, providing low noise signal path, excellent dynamic response, and maintenance free usage for years. Despite the extended functionality (for a single 500-series unit) it still offers the ease of use, through the well laid out front panel.

The Compressor

The preamp section features 60dB of adjustable gain boost, phantom power, phase flip and 70 Hz high pass filter. The compressor section is based on the VCA principle, using highly specialized IC, supported by an external circuitry, that controls the attack and release times. The envelope of the release time consist of two stages – the amount of gain reduction lowers by 80% within the first 150ms and by further 20% within the next 450ms. This unique feature helps the NEOX 500 to behave like an optical compressor. User has an access to the THRESHOLD level knob, RATIO (1:1 to 100:1 – soft compression to hard limiting), OUTPUT level and the bypass switch.