These compact modules punch well above their weight, offering everything from smooth saturation to tight compression.
Whether you’re chasing vintage warmth or a modern edge, there’s something here for every sound. Let’s take a closer look at the tools making an impact behind the scenes.
The Maag EQ2 may look modest at first glance, just a two-band EQ in a 500-series format, but don’t let that fool you. This unassuming unit punches far above its weight, offering sonic shaping that rivals far pricier rack units.
At the heart of it is the legendary Air Band, now even more versatile with a new 15kHz setting; that isn’t found on Maag’s EQ4. It’s a subtle but welcome addition, sitting perfectly between the sometimes-harsh 10k and the ethereal 20k. Whether you’re mixing vocals or brightening a dull overhead, it delivers clarity without harshness. And yes, even the elusive 40kHz setting adds that airy polish your ears didn’t know they wanted.
The low shelf is equally impressive: crank the 65Hz or Sub settings and you’ll get thick, musical weight without mud. Run a pair on the mix bus and you’ll hear your track open up , wide, clean, and dynamic.
Smart features like band-specific bypass, detented knobs for easy recall, and a built-in attenuator make it practical as well as musical. Whether you’re sweetening vocals or tightening the bottom end, the EQ2 delivers precision with warmth.
The Standard Audio Stretch is one of those rare tools that feels instantly essential once you hear it in action. Inspired by the old Dolby trick – the subtle multiband mojo used on countless ’70s and ’80s records – this 500-series unit takes that concept and turns it into a highly musical, modern processor.
What makes the Stretch special is its simplicity. There are no traditional multiband controls, no attack or release to tweak. Just input, output, a filter selector, and an oversized mix knob that makes dialing in parallel processing feel tactile and immediate. The filter modes split the audio into different frequency bands, allowing you to selectively enhance brightness, punch, or low-end weight before blending it back into the dry signal.
On vocals, it adds a silky high-end sheen. On drums, it sharpens attack without sounding brittle. On bass, it gives you that tight, focused sub reinforcement without boominess. It’s subtle when you need it, aggressive when you want it – and always musical.
If you’re after a secret weapon for tone shaping without overcomplicating your chain, the Stretch earns its place in any serious 500-series rack.
The HLabs PRE169 brings the legendary tone of the Studer 169 console preamp into a sleek 500-series format – and does it with authority. Crafted by French boutique maker HLabs, this preamp captures the musicality of vintage desks without the maintenance headache, and it absolutely delivers.
Build quality is top-tier. Inside, it features an input transformer and a hefty Carnhill output transformer – the same type found in classic Neve 51-series consoles – along with dual circuit boards built for longevity. The tactile switches, smooth pots, and clean layout all contribute to a premium feel.
Features include up to 65dB of gain (thanks to a handy high-gain switch), phantom power, phase reverse, pad, and a sweepable high-pass filter from 20 to 315Hz, perfect for taming rumble or tightening up the low end before conversion. The clean output fader and front-panel high-Z input make it incredibly versatile, and the LED meter provides clear visual feedback at a glance.
Sonically, the PRE169 offers clean gain when you need it, but really shines when you push it – delivering smooth, musical saturation courtesy of the output transformer. Whether on vocals or acoustic instruments, it brings warmth and character without going overboard. A modern classic in the making.
The Standard Audio Level-Or Mk2 is a no-nonsense beast of a dynamics processor – a love letter to vintage leveling amps with a serious modern twist. Whether you’re looking to slam room mics, gnarl up a vocal, or blow out a bass track, this 500-series unit delivers gritty compression and bold saturation with character to spare.
In Level mode, the unit acts like a wrecking ball – thanks to its aggressive JFET limiting, it crushes transients with explosive energy. Switch to Crunch mode and you’re into distortion territory, driven by discrete Class A transistor amps that sound raw, warm, and alive. It’s controlled chaos at its best.
Despite its aggression, the Level-Or Mk2 is deceptively easy to use. The simple controls invite experimentation without intimidation. It’s incredibly versatile: I’ve used it to inject attitude into sterile digital drums, to push vocals forward in a dense mix, and even to give DI bass some real analog growl.
This isn’t a subtle tool – and that’s the point. It’s for when you want vibe, saturation, and compression that’s unapologetically bold. For engineers who like their sounds punchy and full of character, the Level-Or Mk2 is an absolute must-have.
