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Lindell Audio MID-500

Lindell Audio MID-500

3.5 3.5 out of 5, based on 1 Review

This is supposed to be a Pultec MEQ type equalizer with a 1731 Opamp gain stage instead of tube. It has three large inductors for the three bands which admittedly is what drew me in in the first place! I like lots of Iron and this unit has that as it also has an input and output transformer.


12th June 2019

Lindell Audio MID-500 by rjb5191

  • Sound Quality 4 out of 5
  • Ease of use 3 out of 5
  • Features 3 out of 5
  • Bang for buck 4 out of 5
  • Overall: 3.5
Lindell Audio MID-500

I can't say I've come to a conclusion on this unit yet so I may update this as I use it more (hopefully). I find this module to be quite colored in respect to how it really rounds and softens transients quite a bit, even in "bypass". I think this is due to the transformers and 1731 opamp. This can be a good thing or a bad thing depending on the source. For example on an acoustic guitar, I recorded it was very nice as even in bypass the mid 500 softened the edge of pick attack that would have been very distracting in the mix. It was almost instantly a record worthy acoustic sound. Even just having the unit in bypass adds a bit of thickness and richness to the sound. One thing I find disconcerting and I may contact Lindell about this is that in some instances the gain control on all the bands doesn't seem to have a any audible effect until it is above half way. Then once you get to 3/4, the change becomes very sudden. This makes it difficult to dial in the sounds you want. I wan to say that this eq doesn't seem too have much range in general. You can't really mangle or transform sounds, but more gently massage them a bit. Getting back to the transient softening thing, it is really drastic on this unit and it makes it feel almost unuseable on some sources where you need punch and impact. It did not work well on kick and snare and was marginal on electric bass. It just softened them too much. I played with gain staging into the unit and even with, lower input signals, this effect was still present. It worked fairly well at adding presence to a vocal and cutting some mud as well as adding some of that transformer color. It worked ok on warming up a digital synth on one track as well. I think this could work well on brass instruments and maybe tamming and fitting aux percussion into a mix. We'll see.

 
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