This is the 12410 EMI Mastering console.
Restoration:
The PSU's are brought up to original spec.
The left Vu meter has been replaced (vintage Ernest Turner off course).
Added missing Siemens U-links.
Caps have been replaced when needed.
Measures great now.
Some transistors are replaced.
All transformers and modules are tested.
Cleaning of modules and aesthetics
The insert 19" 2hu has been disconnected but not removed it also has the original Gardner transformers
History on this console:
Originally build for Bovema EMI Heestede in the Netherlands.
Probable delivered at the end of the 60's some parts are dated around that time.
EMI Bovema did a lot of international printing to vinyl with this console.
There are certain modules that operate a cutting lathe for instance the groove width.
A console like this was used at Abbey Road for mastering purposes but initially designed to transfer audio from a master tape to a hard lacquer vinyl master, hence the name.
Off course a console like this, although intended to sound clean has quite an impact on anything that passes through. And this is why EMI wanted to have their transfers done on a specific designed console.
This was the only way to secure the EMI sound on vinyl at that time.
One could defend that this particular console's signature sound is a part of what we as listeners experience on many great albums.
Some noted albums & singles Bovema printed with this very desk are:
1) Pink Floyd: Ummagumma/Masters of rock/Wish you were here/Animals
2) The Jackson 5
3) Queen: a night at the opera/a day at the races George Harrison: Bangla Desh / What Is Life / My Sweet Lord 4) Stevie Wonder: As
5) Michael Jackson: Got to be there/Maria/you were the only one
6) Deep Purple: Burn
Pretty much any vinyl printed by EMI Bovema in the 70's passed through this console.
Basic signal flow:
Audio enters the console in the input module the engineer chooses a IPS speed and preset eq/or straight and feeds audio into the check unit.
The check unit enables the engineer to chain or solo certain modules like the Correction unit (EQ) or the limiters or insert. It also enables the use of the monitoring unit.
The (processed) audio leaving the check unit enters the filters and then into the high gain unit.
Gain increase or decrease is off course inevitable with the use of limiters and eq's therefore the high level unit acts as a makeup gain for the lathe, again transformer balanced so making it hot does sound very nice.
It also incorporates the groove width control for the lathe.
Next the sum and difference of the channels are corrected by the VAL units The VAL units also incorporate an audio spreader which is really nice and delicate.
The last step are the faders.
These are intended for fading only, not leveling.
The output signal is very hot!
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