Each channel of the Hammer features six rotary controls: three gain knobs with continuously variable boost or cut of 12dB, and three frequency-selector knobs detented for easy recall. The Hammer’s selectable frequencies range from 30Hz to 15kHz. The low, mid, and high bands have a selectable center frequency, and the bands themselves overlap in such a way that makes for a very smooth transition throughout the entire frequency spectrum. Also on each channel are toggle switches for EQ In/Out, plus low-cut (84Hz) and high-cut (8kHZ), filters, which allow the engineer to perform utilitarian EQ chores while still being able to bring the full power of The Hammer’s three bands to bear. Bandwidth (Q) is self-adjusting (floating) based on both the amount of gain applied and in response to the behavior of the program material at the selected frequencies. The Hammer’s unique ability to have its Q “move with the music” is one the secrets to its highly musical response, and also a reason for why its near impossible to make the Hammer sound bad at any frequency or gain setting.
Like its twin, the A-Designs Audio HM2 Compressor “Nail,” the Hammer boasts a black, custom-milled, brushed faceplate, which plays host to its custom-milled aluminum control knobs; big, blue jewel power indicator lamp; and heavy-duty Carling toggle power switch—overall, a stunning combination of modern-retro looks that jump out of the rack.
Not just another pretty face, it’s what’s inside the Hammer that counts, which, along with its clever tube-harmonic filtering circuit, are two transformer-less 12AT7 tubes (offering the most consistent control of any tube), and a custom toroidal power transformer. But most importantly, the Hammer is an inspired design whose sonic majesty is far greater than the sum of its components. As producer-mixer Ronan Chris Murphy (King Crimson, Terry Bozio) says, “The Hammer is all about gorgeous, smooth top and high mids. I am just not used to being able crank the top on the rock cymbals so much and have them stay so smooth. Another engineer I really respect described the HM2EQ as “the best EQ” he had ever used . . .”
Not just for the 2-bus, the Hammer’s dual-mono operation makes it a marvelous tool for tracking as well. Whether it’s 2-bus, submix, voice, or instrument, just reach for the A-Designs Audio HMEQ2 Hammer when you want great sounds—and you want them quickly and easily.
World-class, three-band, dual-mono tube/hybrid equalizer
- Designed to sound highly musical for larger EQ functions typically found on expensive mastering
- Smooth, super-fidelity EQ, suitable for very high-end applications
- Beautiful-sounding broad EQ-shaping across several octaves with no adverse effect on tone
- Clean and airy high end
- Warmth, transparency, and quality sound.
- Continuously variable boost and cut controls
- Fixed frequency settings with highly musical overlapping bands and floating “Q”
- Low-cut and high-cut filters and bypass
- Transformer-less 12AT output tubes
- Custom-milled aluminum knobs and faceplate with EQ in/out, low-cut, and high-cut toggle switches
- Heavy-duty Carling power toggle switch
Frequency Response: -3dB points @ 5Hz and 40kHz
- Noise Floor -94dbm with 30kHz bandwidth
- Low boost: +12dB; cut: -12dB
- Mid boost: +12dB; cut: -12dB
- High boost: +12dB; cut: -12dB
- Low-frequency switch: 30Hz/50Hz/100Hz/200Hz/300Hz/400Hz
- Mid-frequency switch: 250Hz/500Hz/1.2kHz/1.6kHz/2kHz
- High-frequency switch 2.5kHz/3.5kHz/5kHz/7.5kHz/10kHz/15kHz
- Low-cut filter: 84Hz
- High-cut filter: 8kHz
- Bandwidth (Q): Floating
- Distortion +4dBm
- Power Requirements: 120/230 VAC – 42W
- Dimensions (W x H x D) 19″ x 3-1/2″ x 10″
- Weight 10 lb. (Shipping weight 12 lb.)