From a Studio thatcommissioneda restoration -- then sold off as they decided to go with larger rack mount, Tape/Pre setups.
Much work already done (caps, line cord, jacks). Needs a few repairs and toubleshooting to be completed. Best for serious tube skilled DiY'ers or Studios with technician.
Unit is quite complete internally, as far as I can see -- the open spaces you see inside, were for the high voltage batteries.
The cosmetics are fair, though it still utterly gleams -- if the worn, tattered leather cushion that covers the metal, could talk.... Serious vintage roots here.
The heavy, large tactile feel of the (4) Daven Attenuators and (5) giant Daka-Ware knobs are something you can grab ahold -- and the feel literally takes you back in time. To quote Adam Savage, "good tools make you want to use them".Once you get this mixer on the road, it can fill in the analog space like many much larger pieces cannot. One of the reasons all the studios and recording artists are hanging onto these with a firm grip. Nowadays, you're lucky to see 1 or 2 a year here on ebay or elsewhere.
The Audio section might work ok (UNTESTED) .... but needs power supply repair -- all major components are present, and the fuse is good (unit turns on but buzz stopped my test)
This preamp is known to be great for ribbon mics, compact and tons of gain (up to 90db) when it's serviced and tuned up properly.
See exhibit (B)-- the meter lamps turns on OK. Some new metal work was done, to moderinize the XLR Inputs and Outputs, with Direct In's
The restoration / and light metal work respected and retained most of the cloth wiring. There was a mechanical "buzz" in the power supply when I brought it up on a Variac... the meter was beginning to light nicely, but has to stop there for safety...when that is attented to (I think it may be a loose connection on the underside) -- the new owner will enjoy one of the most classic and compact legendary portable tube mixers of the early 50s. Not much compares to the look or the aircraft-like build quality of collins.
During the late 1930s, and resuming post-war until the early 1960s, Collins built some of the finest industrial, studio recording and broadcast professional audio products -- they dominated several categories in the field, after WE and RCA were diminished, and really the last company to have aspired to the beauty and polish that we see in expensive items from the 1930s (prewar). Collins of Cear Rapids, Iowa and Gates Radio Company of Quincy, Illinois both made excellent sounding pro audio -- truly better than anything you see these days.... By the early 1940s, even a little before WWII -- RCA & WE -- the two premium mfr's were losing grip on the Studio equipment segment. RCA, by far held the most market share, but by the 1950's they were far too diversified, captivated by early Television, RCA gave way to these last two premium audio companies of the golden era : Gates and Collins. Of the two, Gates immediatley dominated the market, far outshadowing the equally impressive, wonderful build quality of Collins. When you compare sound -- both Gates and Collins made some of the best tube preamps of the 1940s through 1960s. Collins though, in general made some of the nicest...downright beautiful products, both inside ant out. Their golden era was right in the period, from about 1945 - 1955 -- they used top notch Thordarson potted transformers -- which often spec out beautifully -- sounding rich and detailed.
Excluding Western Electric, and early 1940s Altec, one could say both Gates and Collins are your best bet for killer tube premplification. All over the world, vintage pro audio recording collectors and hobbyists seek both -- the modules, line amps, mic pres, and Limiter Compressors all worth their weight in gold. For today's artists and diy pro audio recording hobbyists they are #1. Gates and Collins pre's also make astonishingly good preamps for home Diy systems. Collins often was the heavyweight in refinement and industrial asthetics and symetry --- while Gates prefered marketing, straightforward build, clean aluminum chassis, and easily serviceable designs. Gates often used Triad and UTC transformers while Coillins often used top tier Thordarson (whose potted HiFi grade you see in this piece easily best UTC LS series). When it comes to 1950s and 60s industrial audio they're both great sound. Soundwise pretty equal. In portable Mic Pres -- Collins generally comes out on top!
By the late 1940s, mobile recording was again all the rage.. this Collins 12Z is designed to setup anywhere you want, It's self powered via it's internal power supply, or you can setup and run DC in from batteries for ultra clean power...Totally transformer coupled in , 50, 150 or 250 ohms....& out to 600 balanced or not... balanced output 150 or 600 ohms (can also be used unbalanced).
These were typically used by decked out studios, where they were the companion's to the larger boards that Collins made.... and field outfits where high fidelity audio needed to be gathered or routed to nearby sound truck as was done back in the 40's.. for live broadcast sends or recording direct to Ampex machines. These 12's (all in this series were terrific) were used where superior quality, low noise with lots of gain and mixer controls were a must.
Study exhibit (A) to see what you get (sorry no front cover).. and exhibit B thru L (large photos BELOW) to check over the nice cosmetic condition it is in. These are a seldom found these days, and are perfect for direct in's for modern recording -- these outperform many other mic pre's of later era's... quality that that you can only get with seriously well built, top quality audio from this era --the heavily potted transformers are prized and render the nice tone, and rich midrange that modern equipment rarely delivers... this survivor will sell quickly. Don't miss out if you need a quickly restorable, vintage mic preamp for your studio or home h-fi it's from around 1950 -- the real McCoy, 64 years old.
Measures 15 x 11" w x10".
Packed weight is 34lbs in a 14"x12"x18 double packed (inner/outer)box.
