Lindell Audio announces LiNTEC Vintage Program Equalizer as take on studio classic with vintage workflow for making modern soundsBoutique recording equipment maker Lindell Audio is proud to introduce its LiNTEC Vintage Program Equalizer — enabling its take on a much-lauded studio classic with vintage workflow for making modern sounds, breaking with tradition by choosing a solid-state design over a tube-driven one — as of March 7…

By bringing a much-lauded studio classic — conceivably the most renowned studio EQ ever known — home to smaller studio setups and larger recording studios alike, anyone can now get hands-on with classic Pultec-style workflow when sculpting their tracks, thanks to Lindell Audio’s timely LiNTEC introduction. Indeed, it is billed as being a Vintage Program Equalizer, as emphasised by the on point wording boldly blazoned below the VU (Volume Unit) meter dominating its beautiful blue front panel that, in turn, emphasises Lindell Audio’s Scandinavian heritage, courtesy of subtle front panel positioning of an adapted Swedish flag motif. Attractive as it is to look at, alluding — albeit applying a ‘modern’ minimalist Scandi touch — to the time-honoured aesthetics of the Sixties-vintage, prohibitively-expensive Program Equalizer from which it draws its inspiration, it is what it sounds like — making its musical mark by bringing air and space to vocals and stringed instruments, beefing up the low-end of kick drums, or adding a touch of warmth and weight to an entire bus — that clearly counts. It is fair to say, though, that anyone running their tracks through a LiNTEC will wonder how they got by with using software EQs for so long!

LiNTEC’s lean, old-school design offers a shared (five-step switched 20, 30, 60, 100, and 150 Hz) LOW FREQ (frequency) selection control for the associated BOOST and ATTEN (attenuation), alongside independent (11-step switched 1, 1.5, 2, 3, 4, 5, 6, 10, 12, 14, and 16 kHz) HIGH FREQ and (five-step switched 4, 8, 12, 16, and 20 kHz) ATTEN selections with a shared BANDWIDTH control. As a result, users can dial in the precise amount of tone-sculpting necessary to serve their track with no risk of muddying up the midrange. Moreover, LiNTEC’s stepped pots ensure easy recall and stereo matching when used in a stereo pair, while its filters are based on classic EQP-1A filters, complimented by Lindell Audio’s own new gain structure.

Speaking of choices, Lindell Audio broke with tradition by choosing a solid-state design over a tube-driven one. On record as professing its love for tubes as much as the next manufacturer, solid-state offered myriad benefits for LiNTEC that could not be had with tubes, such as a faster transient response with a smooth, creamy, and punchy character; lower noise than tube-based EQs; better unit-to-unit matching for stereo pairing — matched by hand to within 1⁄4 dB of each other; and, obviously, no tubes to wear out and replace.

Turning to the op-amp applied to the LiNTEC design, it is the same proven OPA-171 — Lindell Audio’s take on the classic vintage Melcor 1731 op-amp — used in its 7X-500VIN ‘Vintage Edition’ 500-Series compressor and 77X-500 500-Series stereo compressor. Custom-designed transformers that are also central to making the LiNTEC Vintage Program Equalizer what it is have been created specifically for Lindell Audio.

And, yes, Lindell Audio’s LiNTEC is perfectly capable of pulling off the so-called Pultec low-end trick that has been used to fatten bass lines and kick drums on innumerable recordings; simply choose the desired LOW FREQ setting — try starting at 100 Hz, then simultaneously turn up both the associated BOOST and ATTEN controls to taste. As a historical side note, it is interesting to note here that original Pultec documentation asserted — admittedly rather bullishly, “Do not attempt to boost and attenuate simultaneously on the low frequencies.” Is it any wonder, then, that eager-to-know-why engineers did just that! The result of this simultaneous boost/cut operation is a low-end boost below the selected frequency, with a cut slightly above the selected frequency; in turn, this results in a satisfying-sounding thump and body that does not risk muddying the midrange — a not-so-secret trick of engineers and producers ever since those eager-to-know-why engineers first tried ignoring what they were told! Try doing that ‘for real’ with software EQs.

Electronics evidently has a lot to answer for, and by bringing the much-lauded studio classic home to smaller studio setups and bigger studios alike, anyone can now get hands-on with classic Pultec-style workflow when sculpting their tracks for a lot less than the price of other classic hardware EQs, thanks to Lindell Audio’s LiNTEC.

Last, but by no means least, the LiNTEC Vintage Program Equalizer is also useful for adding a touch of warmth and harmonic content to program material — even with its EQ set flat! 

As a RAD Distribution company, Lindell Audio’s LiNTEC Vintage Program Equalizer is expected to ship in late-March/early-April 2024 with an MAP (Minimum Advertised Price) of $399.00 USD — RAD Distribution is also the exclusive North American distributor

For Lindell Audio products (https://raddist.com/en/brands/lindell-audio) — and an SSP (Standalone Selling Price) of €532.00 EUR — including 19% VAT (Value Added Tax) — in the EU (European Union).

From Universal’s TikTok takedowns to Deezer’s 26m deleted tracks… it’s MBW’s Weekly Round-UpThe five biggest stories to hit our headlines over the past seven days…
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Tracks with a Spotify Canvas video are 145% more likely to be sharedData from Spotify shows just how much adding a free 3-8 second Spotify Canvas video to a track can contribute to its success. If a song has a Canvas video,. Continue reading
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Why every musician and music company NEEDS merchandisingWe dive into the importance of merchandising for musicians and music companies and how it uniquely creates new connections with fans and expands outreach as an artist and music business.. Continue reading
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Living Wage For Musicians Act excites many but worries othersA new bill before Congress that would increase streaming royalties excites many independent musicians, but others are worried. Here is why… by Bobby Owsinski of Music 3.0 If you took. Continue reading
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Down The Skibidi Toilet: Why Universal Music Group’s ‘Project Timeout’ is hitting TikTok with endless copyright takedown requestsThere is a lot to explain here....
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Record companies are better placed than streaming platforms to monetize superfans… and 3 other things Robert Kyncl said in his new Q&AWarner Music Group’s CEO has some “radical” ideas on how to change how streaming services pay music rights holders
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30th Anniversary Limited Edition SansAmp Bass Driver DIThe SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.

This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.

The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.

It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.

MIDiA independent label and distributor surveyMIDiA is fielding its annual independent label and distributor survey. This is the chance for the independent sector to have its voice heard. Given all of the changes that are taking place in the streaming economy, there has perhaps never been a more important time for this. In the survey, we ask about topics such as two-tier licensing, artist cut through, AI, catalogue and marketing.

All participants will get a copy of the final report so you can get a definitive view of how the wider independent marketplace is performing and how it is responding to today’s market challenges and opportunities. 

Crucially, all of the data is treated as strictly confidential. We never share respondent level data with anyone and we only use the respondent level data to create the aggregate market figures. This means your company-level responses are not seen by anyone else.

MIDiA has fielded this survey for years now and have been trusted with their data by many hundreds of labels and distributors.

Click here to complete the survey.

All ToneDen FanLinks, TourLinks, BigLinks are broken, admits EventbriteEventbrite sent a message to users that its ToneDen smart-link service, which is popular with musicians and music marketers, is not working due to "an issue with our domain provider, which is unfortunately out of our control".....
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What Bandsintown’s Spotify integration means for musicians [Music Biz Weekly Podcast]Bandsintown co-founder/managing partner Fabrice Sergent joins Michael Brandvold and Jay Gilbert on The Music Biz Weekly podcast to discuss what the new Bandsintown integration with Spotify means for musicians.....
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Searches for ‘rock music’ are up 600% on Spotify, enter MARROWSpotify says that searches for “rock music,” “alt/rock,” and “rock band” are up 600%, alongside increases in searches for related subgenres, including alternative metal, post-grunge, and indie rock.....
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#majors trying to catch the #social #Music wave using the existing community built around the company. #Tidal #MusicBusiness

Believe generated $952.7m in annual revenues last year, up 15.7% YoYThe company’s full-year financial results were published on Wednesday, March 13
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