A-Designs HM2EQ Equalizer "Hammer"

1.550 € VB

+ Versand ab 16,49 €
76133 Baden-Württemberg - Karlsruhe



zum Verkauf steht wegen Systemumstellung ein sehr gut erhaltener Röhren Equalizer der Extraklasse. Der Equalizer war nur in meinem Nichtraucher Studio Rack verbaut und befindet sich in einem sehr guten Zustand. Lediglich an den Rackohren sind kleine Schrammen vom Rackeinbau vorhanden.


Hammer HM2EQ Stereo-3-Band-Equalizer von A-Designs Audio mit aussergewöhnlicher Balance zwischen Musikalität und Klarheit. Zu einem tollen Preis, mit integrierter spezieller Röhrenschaltung, kann man mit ihm dem Klang harmonische Attitüden der integrierten 12AT7-Röhrenschaltung aufzusetzen, ohne aber den Rauschpegel merklich zu erhöhen oder ein schmieriges Klangbild zu bekommen. Präzise und musikalisch, und sehr knackig, so könnte man es beschreiben.

Auf jedenfall eine Bereicherung eines jeden Setups.

Hier noch ein Test von SOS:

A-Designs Hammer
Dual Three-band Equaliser

If you want 'that' analogue sound, sometimes real analogue gear is the only way you can get it - and that's what this valve EQ is all about...

A-Designs Hammer
Photo: Mike CameronThere's no arguing that the world of digital plug-ins has a lot to offer, but an emulation of a well-designed piece of analogue gear is never going to be quite as good as the real thing, especially where the device in question is based on tube circuitry — because, even at its best, modelling only captures an approximation of what makes tubes sound so special.
If I Had A Hammer

California-based A-Designs build high-end analogue outboard equipment, and their HM2 Hammer equaliser that's reviewed here is a solid-state/tube hybrid, two-channel EQ. It comes in a 2U rackmount case and offers three bands of cut/boost EQ on each channel. Rather than going down the full parametric route, this device is based around switchable-frequency filters, each of which has up to 12dB of boost or cut available (with six frequency settings per filter). The filter bandwidth can't be adjusted but uses what the designers call a floating-Q system, which suggests that the Q varies depending on how much cut or boost is applied. Additionally there are switchable high- and low-cut filters and individual channel bypass, both of which are controlled via miniature toggle switches.

Because the circuitry is based on tubes, the manufacturers recommend a warm-up time of at least 20 minutes to get the best sound quality, and when mounted in a rack, space should be left above the unit for ventilation. Because tubes are inherently microphonic to a greater or lesser degree, shock-mounting is also recommended in high-SPL environments.

Little detail is given regarding the circuit design, so I removed the cover to check for myself. Each channel has a single 12AT7 dual-triode tube in the signal path, and the filter circuits are constructed around ICs. There are no audio transformers in the signal path. Power comes from a conventional analogue power supply centred around a torroidal mains transformer, and all the PSU circuitry, the two tube stages and the ICs associated with the balanced inputs and outputs are mounted on a double-sided circuit board parallel to the rear panel. The switches, pots and related filter circuitry are mounted behind the front panel on a separate circuit board. A couple of ribbon cables join the two boards, and the majority of the case is kept clear to allow good ventilation.

The Hammer EQ comes in a robust 2U rackmount chassis, with the inputs and outputs provided on XLR connectors.
The Hammer EQ comes in a robust 2U rackmount chassis, with the inputs and outputs provided on XLR connectors.Photo: Mike CameronOverall, the construction is neat and economical in a conventional steel rack case and only balanced XLRs are fitted for the inputs and outputs (there are no TRS jack alternatives, which I think would be helpful in a home studio setup — I'd like to see more professional products offering these alongside XLRs).

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