Pendulum Audio specializes in high-quality, hand-built vacuum tube recording equipment and electronics designed for amplifying stringed instruments. Since 1988, our Preamp Systems for Acoustic Instruments have been the choice of musicians worldwide who are serious about their sound - both on stage and in the studio. In 1998, we debuted a line of class A tube mic preamps and dynamics processors, which have quickly become modern classics. All the information about our entire product line can be found here. If you have any technical questions, please call Greg Gualtieri at (908) 665-9333.


      NEW! DS-500 De-esser

The DS-500 is a stand-alone version of the very popular opto-inductive de-esser in the Quartet.
It uses a unique approach to de-essing, - one that lets you choose how much of the "s" to leave in!

Read the product info here...     Read the press release here...


 

The PL-2 JFET/MOSFET Analog Peak Limiter

Read Mike Caffrey's Review of the PL-2 in Tape-Op here!

  

      Awarded the PAR Excellence Award for 2006 at AES!
The PL-2 is a stand-alone two channel version of the very popular solid-state peak limiter in the Quartet II. It uses a novel approach to brickwall limiting, one that is fast enough to prevent digital overs in the analog domain. Tame those unruly transients without messing up the rest!

Read the product info here...                  Read the press release here...

 


Quartet II ME Tube Recording Channel

Read Russ Long's Review of the Quartet II in PAR Review here!

Read Mike Caffrey's review in Tape-Op here!
   The Quartet II is not an update nor a replacement for our very popular Quartet. It is a complementary unit that incorporates a substantially different combination of elements. Designed with the input of Fletcher of Mercenary Audio, many additional options have been provided to tailor the texture of the audio character for maximum musical flexibility. Designed as an all-purpose recording tool, the Quartet II combines four elements - Dual transformer Mic/DI preamp, Delta-mu compressor, Passive/Aggressive Inductor EQ and two mode JFET/MOSFET Peak Limiter - into a fully integrated package that makes it easy to process any source. In addition, the Mic/DI, EQ, Compressor, or Peak Limiter can be patched out and used independently. It also has transformerless or transfomer-balanced outputs. It received the PAR Excellence Award for 2003.  


Quartet Four Element Tube Recording Channel

 
   The Quartet is an all-purpose recording tool designed with the ultimate in sound quality and flexibility in mind. We have combined four elements - the tube Mic/DI preamp from the MDP-1, the tube Opto-compressor from the OCL-2 enhanced with a new opto-inductive De-esser, and a new 3 band tube EQ - into a fully integrated package that it makes it easy to track any source. In addition, the Mic/DI, EQ or Compressor/De-esser can be patched out and used independently. The Quartet features an all-tube signal path, and transformerless or transfomer-balanced outputs. It received both the PAR Excellence Award and EQ Blue Ribbon Award for 2001.



MDP-1 Vacuum Tube Mic/DI Preamp
   The ultimate front end for critical recording applications, the MDP-1 features an all-tube short signal path with a transformerless output stage capable of delivering +35dBu. The all-tube DI circuit is entirely transformerless. The MDP-1 is biggest-sounding preamp you've ever heard, and is the ideal way to cut world-class tracks in your project studio.

OCL-2 Electro-Optical Tube Compressor/Limiter
   The OCL-2 delivers smooth dynamics processing without coloration, using a proprietary (very fast!) electro-optical gain control element in the input circuit of an all-tube, transformerless line amp capable of delivering +35dBu. It features adjustable compression ratio, three sidechain modes (fast, presets, or manual), and can be linked for stereo operation. It's the ideal choice for 'invisible' dynamics processing, either for tracking or program compression. Also a great mastering compressor!

ES-8 Remote Cutoff Tube Limiter
   The ES-8 possess the classic compression profile of the vintage Fairchild 660 and 670 limiters, but implemented in a modern low noise, wide bandwidth circuit. It uses a remote-cutoff triode as the gain control element, in a more accurate, less colored signal path tha vintage designs. The ES-8 uses a tube with the same compression characteristics as the 6386 tube in the Fairchild limiter, but with extended bandwidth . If you're looking for tube compression with a lot of character, especially on a mix, this is the one you've got to hear!

6386 Remote Cutoff Tube Limiter
   The 6386 Limiter uses the same gain reduction tube as the Fairchild 660 and 670 limiters, but implemented in a modern low noise, wide bandwidth circuit. Although the 6386 is not in full production (due to tube availability), we still build them on a custom basis when we have procured a good set of tubes. We currently have one new 6386 Limiter for sale. Please contact us for more information.

SPS-1 Preamp System For Acoustic Instruments
   The SPS-1 Stereo Preamp System for Acoustic Instruments is the world leader in sound quality and flexibility for processing your acoustic instruments in true stereo. With two channels of fully parametric EQ and studio-quality mic preamps, the SPS-1 can easily adapt to any combination of instrument pickups, internal mics, or external mics. Pendulum preamps are used by James Taylor, Leo Kottke, Bob Dylan, David Wilcox and many other acoustic players who care about their sound.


Latest News

Mastering Engineers Choose the OCL-2 and ES-8

Greg Calbi at Sterling Sound in New York recently acquired an ES-8 Limiter and OCL-2 Opto-Compressor for his room in Sterling's new Chelsea Market location. After auditoning compressors for some time, Greg decided on the ES-8, and immediately put it to work when mastering the new release by Branford Marsalis. A few weeks later, he auditioned the OCL-2 and it too has become a mainstay in his analog mastering chain. I had a chance to spend some time with Greg listening in his room, and it's a real treat.
www.sterling-sound.com


Alan Yoshida at Ocean Way Mastering in Los Angeles has been using the OCL-2 and ES-8 in his room for several months with great results. Alan, known lovingly as a very picky tweakhead of the highest order, did not have any compressors in his room for several years. After knowing Alan for quite some time, I finally got him to break down and give the OCL-2 and ES-8 a listen. He and I assumed he'd send at least one back, if not both. Much to my surprise, he called to say that "Since the boxes got thrown away, I'll have to keep them both". Anyone who knows Alan would recognize this as high praise! See the compressors in his custom console at the link below.
www.oceanwayrecording.com

Dave Collins at Collins Mastering in Los Angeles, who has used our 6386 limiter for several years (both at Marcussen Mastering and in his new room), has added an OCL-2 to his analog chain. He was bit skeptical about using an opto on a mix, but was convinced by Brad Blackwood to try it. It's been an integral part of his chain ever since. Since Dave is a guy whose ears are legendary, and he designs and builds his own gear, I'm gratified that the 6386 and OCL-2 have his seal of approval!
www.collinsaudio.com

Brad Blackwood at Euphonic Masters in Memphis was looking for a compressor to add some 'spank' to mixes, adding a bit of color but keeping it clean. He chose the OCL-2 for the job, to complement his Crane Song STC-8. Brad says, "I've been looking for that magical 'snappy' device that could pleasantly color program but wasn't just a 'color box' and this is it. Sweet job, Greg - I love it!!!"
www.euphonicmasters.com

Dave McNair at Unity Mastering in New York recently added an OCL-2 to his mastering room. His partner Dave Snyder at Jarvis Recording has been using the OCL-2 for tracking with great results, and they were equally impressed on what it could do on a mix. Dave says, " It's a rare track that doesn't get some amount of "goodness" on its way through that baby. One of the things that I find great about the OCL-2, is how so many settings are useable. Most compressors have one or two settings that do what they do and any claim of versatility is usually minor. I've found your design to have superior sonics AND many very desirable control options."
www.jarvisnyc.com




© 2006 Pendulum Audio, Inc. All rights reserved.