Little Labs Studio Tools



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Little Labs VOG $420


Little Labs VOG

The VOG analog bass resonance tool is the latest creation from Little Labs, and is Little Labs first entry in the popular API 500-Series module format. The VOG was originally designed to capture the chest resonance of vocalists or voice over artists, enabling them to still have a proximity type effect without havingto be so close to the mic, hence the name, VOG, or Voice of God. However, when I heard it on kick drum and bass, it became clear this would be the go to device to make these instruments sound huge.

The VOG lets users sweep a sharp peak resonance from 20 to 300 Hz, while anything below the peak is rolled off at a steep -24dB per octave. This lets users focus on the low end they want, while eliminating low-end mush and unnecessary woofer excursion.

A subharmonic can be the focus, or the fundamental, or upper harmonics. On a kick drum, for example, the overall effect of turning VOGs frequency knob sounds like someone is tightening or loosening the drumhead. In a mix, VOG allows users to place the bass spectrum instruments so they do not interfere or get in the way of each other.
The i-VOG is identical to the VOG, but it’s a standalone version, no rack required. Oh, but it does add a hi quality hi Z instrument in which adds to its creative capability.
This video is for the UA plug in of the VOG, but the hardware is identical, and this was well produced.

Little Labs I-VOG $500


Little Labs I-VOG

The I-VOG analog bass resonance tool is the latest creation from Little Labs. The VOG was originally designed to capture the chest resonance of vocalists or voice over artists, enabling them to still have a proximity type effect without havingto be so close to the mic, hence the name, VOG, or Voice of God. However, when I heard it on kick drum and bass, it became clear this would be the go to device to make these instruments sound huge.

The I-VOG lets users sweep a sharp peak resonance from 20 to 300 Hz, while anything below the peak is rolled off at a steep -24dB per octave. This lets users focus on the low end they want, while eliminating low-end mush and unnecessary woofer excursion.

A subharmonic can be the focus, or the fundamental, or upper harmonics. On a kick drum, for example, the overall effect of turning I-VOGs frequency knob sounds like someone is tightening or loosening the drumhead. In a mix, I-VOG allows users to place the bass spectrum instruments so they do not interfere or get in the way of each other.
The i-VOG is identical to the VOG, but it’s a standalone version, no rack required. Oh, but it does add a hi quality hi Z instrument in which adds to its creative capability.
This video is for the UA plug in of the VOG, but the hardware is identical, and this was well produced.

Little Labs Multi Z PIP 3.0 $575


Little Labs I-VOG

The Multi Z PIP 3.0 is a completely updated, refined replacement for the now classic Little Labs Multi Z Direct Box. Little Labs added so many features to the original Multi Z Direct Box, we couldn’t call it just a direct box anymore. Every custom mod that was asked of Little Labs over the past ten years, of which there were many, has been incporporated into the new, but still compact, Multi Z PIP. Use it as a super instrument pre-amp, use it as a re-amp, use it as a DI, use it as a mini instrument mixer, use it all together at once…The Multi Z PIP is all about flexibility and superior sonics.

Classic multi z source impedance optimized active DI circuitry

Seperate on-board re-amplifer

Allows simaltaneous re-amping and gain make up for vintage effect interfacing on a console insert

Summing inputs (3 extra inputs)

Instrument pick up emulation transformer and line level transformer isolated outputs

Pre transformers insert (use pro gear before your guitar amp)

Little Labs Lmnopre Microphone Preamplifier – $1,550


Little Labs LMNOPRE

The limited edition Lmnopre Microphone Preamplifier is not another reissue of a vintage design, but a totally NEW microphone preamplifer. It not only sounds fantastic, but gives you new options allowing you to explore deeper into the control of sound…

A fully discrete gain stage
with up to 74dB of clean, quiet, gain with a maximum level out of 31dB
A completely differential circuit topology from input to output
Low frequency resonance control
allowing a controlled resonance creating (amongst other things) a tune-able proximity effect without being in close proximity of the microphone.
Selectable fully variable phase alignment
the same circuit topology as the award winning Little Labs IBP phase alignment tool.
Phase alignment/output level trim section line level insert
allows you to use the phase align and output attenuator section separately from the mic pre.
Front panel direct injection system utilizing its own custom xfrmr
with two inputs, one passive for use with active instruments, and one active for passive pickups.
Rear panel external mic input Xfrmr connector
allowing optional external mic Input xfrmrs to be selected by the user for special applications.
Switch selectable post output transformer output level trim
allowing controlled transformer saturation without overloading post microphone preamplifier devices.
Output transformer front panel bypass switch

Little Labs IBP Phase Alignment Tool $600


Little Labs IBP

The IBP and IBP Junior easily eliminate the undesireable hollow sound when combining out-of-phase and partially out-of-phase audio signals. Designed as a phase problem solving device, the IBP Analong Phase Alignment Tool has quickly become popular among audio engineers as not only a “fix it” tool but as a controlling audio phase creative, tonal color tool.

Allows mics to be placed where they sound best individually.
No compromising mic place do to phase problems when using IBP technology.
Rack mountable, 4 units fit in a 1U space.
Real time all analog phase sweep between 0° and 180º
IBP (Includes the above features plus all the following:)
Internal super quality active direct box.
Internal “re-amplier” to convert pro-level to guitar level (w/ or w/o phase adjust).
Buffered instrument level output for driving long guitar cables.
Splitting between two instrument amps with transformer isolation + phase sweep.

Continuosly variable natural phase adjust.

Line level balanced XLR in and out.

Audiophile sound and construction.

Rack mountable, 4 units fit in a 1U space.

Little Labs IBP Junior Phase Alignment Tool $440


Little Labs IBP Junior

The IBP and IBP Junior easily eliminate the undesireable hollow sound when combining out-of-phase and partially out-of-phase audio signals. Designed as a phase problem solving device, the IBP Analong Phase Alignment Tool has quickly become popular among audio engineers as not only a “fix it” tool but as a controlling audio phase creative, tonal color tool.

Allows mics to be placed where they sound best individually.
No compromising mic place do to phase problems when using IBP technology.
Rack mountable, 4 units fit in a 1U space.
Real time all analog phase sweep between 0° and 180º
IBP (Includes the above features plus all the following:)
Internal super quality active direct box.
Internal “re-amplier” to convert pro-level to guitar level (w/ or w/o phase adjust).
Buffered instrument level output for driving long guitar cables.
Splitting between two instrument amps with transformer isolation + phase sweep.

Continuosly variable natural phase adjust.

Line level balanced XLR in and out.

Audiophile sound and construction.

Rack mountable, 4 units fit in a 1U space.

Little Labs RedEye 3D Phantom Direct Box/Expandable Re-Amp $290


Little Labs REDEYE

“Within five minutes of connecting it, I had the Redeye 3D Phantom totally dialed in. While playing guitar with Pro Tools in record-ready input, it was very easy to compare the sound of the live signal against the Pro Tools signal. Right away I learned that 22 dB of gain on the mic preamp was the magic number to make the guitar amp react as if I was playing it with nothing else in the chain. The only difference I could hear was the from the AD/DA conversion, not the Redeye 3D, and the difference was so subtle that it was insignificant. You have successfully taken all the guesswork out of high-fidelity reamping. Hats off!”
Michael James – Producer/Mixer (New Radicals, Hole, L7, Edwin McCain, Robben Ford, Far, A.J. Croce and many more….)

The Red Eye 3D phantom is the new improved major revision of the popular Little Labs Redeye direct box / re-amp box. More people are re-amping now than ever before, and we at Little Labs know re-amping! We made this new major Redeye revision because we wanted to make sure we continued to make the best sounding, most flexible, easiest to use, and reasonably priced re-amping and direct box product available.

For easy accurate re-amping the Redeye 3D lets you listen thru your whole recording chain, from Redeye 3D direct box, to mic pre to DAW (or tape machine), to Redeye 3D Re-amp, to your guitar amp. In DI (direct box) mode the instrument / re-amp out on the front of the Redeye 3D works as a thru signal so you can simultaneously feed your guitar amp while supplying a signal from the rear xlr to your mic pre and DAW or tape machine. In re-amp mode the instrument / re-amp out on the front of the Redeye 3D signal comes from the line level output of the DAW or tape machine (converted to HI z guitar level signal) to feed your guitar amp. This simple way of listening thru the chain (re-amp mode) and being able to bypass the mic pre and DAW or tape machine in the chain (DI mode) makes level adjustments a snap. This also assures you a re-amped guitar sound that will be exactly what was heard when laying down the track.

The heart of the original Red Eye was a Little Labs custom wound transformer. This transformer was chosen for its sonic character- istics and is made with the same core material and winding technique as the legendary UTC transformers found in many classic pro audio devices. The Redeye 3D features two of these excellent transformers for simultaneous direct box and re-amping use. We have also added to the Redeye direct box a very high quality, hi fi, phantom powered, high impedance (1MΩ or 10MΩ) instrument buffer. When you are using the Redeye with sensitive passive or piezo pick ups, this high quality buffer assures no tone change from loading will occur. For those who use active pick ups or prefer the sound of a passive direct box, you still have the option of plugging into the Redeye 3D direct box passively as in the original Redeye.

The Redeye 3D sounds amazing and even if you never used it for re-amping it is an incredible value just as a direct box. The Redeye 3D phantom – the now even smarter flexible audio tool to aid you in all stages of your production.

Little Labs PCP Instrument Distro 3.0 $1,100


Little Labs PCP

“The PCP is really amazing, it does a lot, but what I really dig is it allows me to use my vintage effects on everything, it’s my ultimate studio tool.”
– JOE BARRESI

“The PCP I use at every stage of recording, it’s the best piece of gear I own (except for my ‘72 black Les Paul Custom).”
– NICK RASKULINECZ

A one-in three-out guitar splitter (five when using the mult and line driver) featuring transformer isolated guitar level/impedance outputs with phase reverse, ground lift, and level adjust on each output.

An audiophile direct box and guitar cable line driver designed with the same circuit topology as the Little Labs Multi Z DI.

Three professional-level to guitar impedance-level interfaces for re-amping.

Little Labs Red Cloud 8-Channel Balanced Attenuator Pack $340


Little Labs VOG

Continuing in the tradition of creating unique and useful tools for the pro audio engineer, Little Labs introduces the Redcloud 8810U8ERS balanced attenuator pack. Born out of necessity for recording engineer Don Smith, aka Redcloud (Rolling Stones, Tom Petty, Stevie Nicks), who liked lots of gain on his mic pre amps but needed a simple flexible way to attenuate the post mic pre signal.

Uses include, simple analog faders pre or post pro tools, volume controls for multiple speaker systems, or any job that needs a stereo or mono rotary attenuator. Plug it into your db25 modular patch bay and patch it in anywhere you need high quality passive attenuation (more places than you might initially think). The Redcloud 8810U8ERS will be a must have accessory in any engineers tool box!

8 rotary balanced faders

db25 standard analog I/O

Stereo or mono selectable

Tracks left to right accurately

Passive 5k ohm impedance

Pre pro tool attenuation

Post mic pre attenuation

Stepped volume controls

Up to 32 faders in a 1u rack

Little Labs STD Mercenary Edition $150


Little Labs STD

The STD allows you to use long microphone cables or microphone tie lines to extend your guitar or any instrument cable without the loss of tone and increase of noise associated with long instrument cable runs. It also has two outputs for splitting between two amps or between an amp and a direct injection box, with a selectable ground lift on one output to eliminate ground loop problems. The STD is a perfect solution for: the live player who is tired of the tone sucking wireless rigs but still needs to be able to walk more than ten feet from his amp; the studio player who needs his amplifier in isolation, but himself in close proximity to his band mates; the recording engineer using control room rack mounted direct injection boxes with a player located in the studio or isolation booth.

Extends instrument cables using mic cables and/or tie lines

Single transistor buffer technology

Reduces cable noise susceptibility while preserving tone

Sonics of a 10ft. Boutique guitar cable in an 80 ft. run

Dual outputs for feeding two amps or an amp and a direct box