![]() Do-it-yourself audio is definitely nothing new, but with the resources of the internet and a growing community it is thriving more than ever. This evened playing field allows for more experimentation in design and therefore more experimentation in the studio. If you wade into these waters you’ll be on your own for designs, but the potential of a community or forum where builders share their creations and schematics is very intriguing.Ī great byproduct of DIY culture is that it allows creative designers in smaller operations to compete in the same marketplace as larger companies since they can avoid the larger overhead of the manufacturing process. At the time of this writing, I had difficulty finding circuit designs for the Beta. ![]() The controls on the front panel can be utilized for whatever function you desire, but it should be noted that while the outside says “SSL”, there are no SSL parts in the actual audio path. Inside is a blank PCB awaiting the builder’s imagination, with all of the expensive and boring parts already taken care of. There was a ton of buzz at last Fall’s AES conference about SSL’s first foray into the DIY world. Their new Beta is essentially a blank canvas: A 500-Series module with SSL knobs and buttons on a cool translucent blue faceplate. SSL’s new Beta 500 is a blank canvas, just waiting to be DIY’d. (In fact, each Colour palette is shipped with a blank PCB for just this purpose!)įinally, if that wasn’t enough, DIYRE recently introduced a major upgrade to the Palette, you are no longer limited to simply engaging each slot, there are now individual (stepped!) drive controls for each socket, a great upgrade from the single the global drive control of previous versions. And, since Colour is an open format, third party developers and DIY enthusiasts are encouraged to design their own circuits. Originating as various saturation circuits like tape emulation and JFET transistors, Colour selections have continuously expanded to include other unique options like a Tascam Portastudio circuit, compressors and even delays.ĭIYRE has also partnered with companies including Louder Than Liftoff and Tonecraft Audio to bring custom versions of their designs to the table. The heart of the kit is the Colour “Palette”-a single-space 500-Series unit that houses up to three “Colours” which can be individually bypassed or engaged, making it something of “lunchbox within a lunchbox”. These are easy-to-build kits that sound great and provide an ever-expanding selection of Colour circuits. I’ve been singing the praises of DIYRE’s Colour format for quite some time now-and with good reason. It’s a minor inconvenience, but is made as painless a possible.Ĭompressors: Hairball Audio FET/500 Series Simply click it and it will fill a cart at with all the necessary components, all you have to do is check out. There is a BOM (Bill Of Materials) link on the order page. ![]() You’ll have to make one additional order for parts, but this is very easily done. It should be noted however, that unlike the others listed here, the 250 is not a complete kit. The original GML 8200 is revered as a super-clean and flexible EQ, useful in both mixing and mastering applications. Of all the kits here, this is probably the most complex build, and with the loftiest goal as well. The front panel shares that same inspiration as well: Five bands of fully-parametric EQ with familiarly colored knobs set the tone on a nicely-painted and silkscreened front panel. It’s two separate, mono mics head-to-head, but closer together and fixed in position, so you don’t have to reset the position every time you move it.”Īn additional bonus to Rick’s design is the elimination of the need for a special Y-cable you simply plug a standard XLR cable in each end of the microphone and you’re off the the races.ĭon Classic’s DIY take on the classic Massenburg EQs.īased on the legendary GML 8200 equalizer, the Don Classics 250 is a mono, 2-slot 500-series unit boasting all the transparency and surgical precision of its inspiration. “Putting connectors and transformers on each end solves these problems elegantly, while allowing the elements to be separated by less than an inch, for a true coincident pickup. Having both output transformers right next to each other in the bottom of the mic has some potential for crosstalk too. It also introduced some crosstalk as the signal ran past the bottom element and its strong magnets. This proved difficult to ‘DIY’ gracefully. “When mic elements are stacked on top of each other and wired to a single connector at the bottom, the wiring from the top element must run past the bottom element. I contacted owner Rick Wilkinson, who gave some insight to this rather unique design: The option that stood out the most to me however is their stereo “True Blumlein” kit, a center-point, fixed angle offering.
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