FAQ

General -FAQ

Absolutely, we’re here to help! From the moment you purchase one of our products, you’re backed by a 24-month limited warranty, valid for the original purchaser. This warranty is provided through the reseller where you bought the product. they’ll assist you with getting a replacement.

If your product is over two years old, don’t worry, reach out to us directly at contact@tritonaudio.com. We’ll do our best to offer a repair solution or guide you with the next steps. You can also contact us for other questions.

A special note for FetHead Germanium owners:
We offer a lifetime warranty on the NOS Germanium transistor — just be sure to register your product with us after purchase.

We’re committed to supporting you and keeping your gear in great shape for years to come.

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  1. Dynamic Microphones:
    • How They Work: They use a magnet and a coil to convert sound into an electrical signal. Sound waves make the coil move in a magnetic field, generating the signal.
    • Durability: Dynamic microphones are sturdy and can handle rough handling and high sound levels, making them ideal for live performances and loud environments.
    • Applications: Commonly used on stages and for live performances due to their ruggedness and ability to handle high volumes.
  2. Condenser Microphones:
    • How They Work: They rely on a capacitor to change sound into electricity. A diaphragm vibrates near a backplate, varying the capacitance and producing the signal.
    • Power Requirement: Condenser microphones need external power, often provided through phantom power, to operate their internal electronics.
    • Sensitivity: They are more sensitive and capture more detail, making them suitable for recording studios where high-quality sound reproduction is crucial.
  3. Ribbon Microphones:
    • How They Work: Ribbon microphones use a thin strip of metal (the ribbon) suspended in a magnetic field. Sound waves make the ribbon move, generating the electrical signal.
    • Sensitivity and Durability: Ribbons are delicate like condensers but also sensitive to loud sounds like dynamics. They require careful handling but can capture nuanced sound details.
    • Applications: Typically used in recording studios for their ability to capture detailed sound, especially in instruments and vocals. They offer a smooth and natural sound characteristic.
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Phantom power P48 refers to a method used to power condenser microphones, which require electrical power to operate. It’s called “phantom” because it doesn’t require a separate power supply; instead, it’s sent alongside the audio signal through the microphone cable. P48 specifically refers to the standard voltage level of 48 volts used for this purpose. It’s commonly found on professional audio equipment like mixers, preamplifiers, and audio interfaces. This method simplifies setups because it eliminates the need for additional power sources or batteries for the microphones.

We use phantom power to power most of our products. 

 

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Hydra Microphone System -FAQ

Follow this Dropbox link for some hi-res audio samples.
All samples were recorded directly into an SSL 12 audio interface.
We compared Schoeps and Neumann microphones with our Hydra tube microphone system, using the same capsules for a direct comparison.
We’ve also included additional samples comparing our Hydra Tube microphone with a Neumann KM184.

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Hydra’s polarization voltage is fixed, we selected a voltage which suits all SDC capsules we have adapters for.
Voltages are mostly consistent between brands (between 50-60V).
Should there be a need for a different polarization voltage, we can adjust this on request.

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For inspiration, we looked at the famous (German) tube SDC’s from the 50’s and tried to incorporate current day audio technology where it made sense and made for a sonic improvement
,this mostly to achieve good bandwidth and lower noise. One could describe Hydra as a modern implementation of a classic design.

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The Voltages required to operate the valve and also the capsule polarization voltage are generated by a converter, we think it does a great job.
Noise levels there are equal to an equivalent circuit powered from battery operation, i.e. as noise-free as possible.
Next to this, we select only the best valves and also the tube circuit itself is as low noise as can be expected from a valve circuit.

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Yes, our Hydra tube microphone system indeed runs on Phantom Power.
Please note that it is designed for 48V (P48) Phantom Power .

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FetHead -FAQ

Check this .pdf for detailed troubleshooting: FetHead Troubleshooting

Ensure that your P48 phantom power is activated and that you’re using 3-pin XLR cables. If this step hasn’t resolved your issue, please don’t hesitate to reach out to us at contact@tritonaudio.com for further assistance. We’re here to help!

 

 

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If you’re looking to preserve your sound’s natural clarity, our standard FetHead offers ultra-linear amplification without altering its tone. However, if you crave a touch of color to enhance your audio, consider our specialized options:

FetHead Germanium: boosts your signal by +29dB, delivering punchy and rich mid-tones for added character.

FetHead Transformer: with a +28dB gain, it enriches your sound with thick low mids and crisp, detailed highs, perfect for breathing life into dull built-in preamps on your interface.

Upgrade your audio experience with our FetHead, tailored to your desired sonic signature.

 


 

 

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For a condenser microphone or any other phantom powered device we advise to use a FetHead Phantom.

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Yes we do, we offer a lifetime warranty on the NOS germanium transistor in our FetHead Germanium, and this is why:

We absolutely love the sound of the “new old stock” germanium transistor we’ve used in the circuit of our FetHead Germanium. We couldn’t find any equivalent among currently produced electronic components that sounded as great as the old transistors we’re using in the FetHead Germanium. We have a rigorous testing policy in place. Every transistor is tested and matched before being used. After assembly, all FetHead Germanium units are individually tested and listened to before being sold. However, the old transistors are slightly less reliable than we would like, as they may, in rare cases, go bad after a period of time. That’s why we offer a lifetime warranty on them. To provide warranty coverage, we require either a purchase receipt or an active product registration. We take pride in taking care of you and will always do what it takes to help a customer.

For the first two years after purchase, any FetHead Germanium experiencing issues can be exchanged at an authorised Triton Audio retailer. For FetHead Germaniums purchased more than two years ago, please contact us directly at contact@tritonaudio.com.

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Our classic FetHead and the FetHead Phantom are both in-line microphone preamplifiers designed to provide clean gain to microphones, but they differ in their compatibility and power handling.

Our FetHead Phantom is specifically designed for condenser microphones or other phantom-powered devices. It utilizes phantom power to operate and also passes it through to power the connected microphone. Our FetHead Phantom is suitable for microphones that require phantom power to function properly.

Our classic FetHead is designed for dynamic and ribbon microphones. It requires phantom power to operate, but it doesn’t pass phantom power to the microphone itself.

It boosts the signal of dynamic and ribbon microphones without introducing noise or coloration, providing additional clean gain for low-output microphones.

In summary, while both versions of FetHead serve the purpose of boosting microphone signals, the regular FetHead is for dynamic and ribbon microphones, while the FetHead Phantom is for condenser microphones or other phantom-powered devices. Both require an audio interface, mixer, mic preamp, or other device that generates phantom power.

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Our FetHeads are ideal for podcasting. Boost your microphone signal with a very small device. If you use a dynamic microphone such as a Shure SM7b, the following FetHeads are suitable.

FetHead • +27dB of super clean gain

FetHead Germanium • +29dB gain with punchy and rich mids.

FetHead Transformer • +28dB gain with thick low mids and articulate highs.

 

When using a condenser microphone for your podcast we recommend:

FetHead Phantom • +18dB of clean gain

 

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BigAmp -FAQ

The main difference between the BigAmp and BigAmp Piezo lies in their intended applications and impedance characteristics:

BigAmp

  • Designed for general amplification purposes.
  • Has an impedance of 1MOhm.
  • Suitable for a wide range of instruments and audio sources.

BigAmp Piezo

  • Specifically tailored for amplifying piezoelectric pickups commonly found in acoustic instruments like acoustic guitars, violins, and other stringed instruments.
  • Features a higher impedance of 7.5MOhm, optimized for piezo pickup systems.
  • Provides enhanced signal clarity and fidelity for piezo pickups.

Both models offer high-quality amplification, but the BigAmp Piezo is specialized for piezoelectric pickups, ensuring the best performance for acoustic instruments equipped with such pickups.

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Both our BigAmp and BigAmp Piezo need 3,5 mA / 48 volts (phantom power) to power its circuitry.

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For both the BigAmp and our BigAmp Piezo the signal amplification is low (+3dB) to allow for the highest possible headroom.

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Our BigAmp accepts signals ranging from the pickup of an electric bass or guitar to the line level output of a synthesizer.

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The impedance of our BigAmp is 1MOhm, while the impedance of our BigAmp Piezo is 7.5MOhm.

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Kompressor -FAQ

Yes. Because the Kompressor uses a simple one-knob design, the amount of compression depends on the output level of the microphone. A low-output microphone such as a Shure SM7B or ribbon microphone will generally produce less compression, while a higher-output microphone such as a Shure Beta 58 or Beyerdynamic M88 will trigger more compression at the same setting.

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Yes. With the control set towards Less, the Kompressor can provide clean gain with little or no audible compression. It provides up to 25 dB of gain, with the available gain decreasing as more compression is applied. This makes it useful not only as an inline compressor, but also as a microphone gain stage / microphone booster.

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Yes. The Kompressor is particularly useful with low-output microphones such as the Shure SM7B and many ribbon microphones. The amount of compression depends on the microphone’s output level, so with a low-output microphone you may need to turn the control further towards More to achieve more noticeable compression. The Kompressor also provides up to +25 dB of gain when no compression is applied.

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No. The Kompressor uses 48V phantom power to operate its internal circuitry, but it does not pass phantom power through to the microphone. This makes it suitable for use with ribbon microphones that should not receive phantom power.

In case you want to use a Kompressor with a condenser microphone, this can be done by using an external phantom power supply.

 

 

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The amount of compression is controlled by the single Less | More knob. The exact amount depends on the output level of the microphone: higher-output microphones will trigger more compression, while low-output microphones will produce a more subtle effect at the same setting. The orange LED indicates when the signal reaches the compression threshold.

When the source is really loud. Too much compression can be applied. In these cases we recommend using an AirHead or other attenuator device.

 

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Tilt EQ -FAQ

Tilt EQ is primarily designed for ribbon, dynamic, and tube microphones. It does not pass phantom power to the microphone, so a condenser microphone requiring phantom power will not receive it through the Tilt EQ.

 With an external phantom power supply it is possible to use a Tilt EQ with a condenser microphone. In this video we explain how this works with a Kompressor, the same setup can be used for a Tilt EQ.

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No. Tilt EQ uses 48V phantom power to power its own circuitry, but blocks phantom power from reaching the microphone. This makes it suitable for microphones such as passive ribbon mics that should not be exposed to phantom power.

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Yes. Tilt EQ is specifically designed to work with dynamic and ribbon microphones. It uses 48V phantom power to operate its own circuitry, but does not pass phantom power through to the microphone, helping to protect ribbon microphones that should not receive phantom power.

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Tilt EQ provides up to +22 dB of clean gain in addition to its tonal shaping. The gain is useful with low-output microphones and can help improve the signal level before a preamp or audio interface.

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Tilt EQ changes the overall balance of the frequency spectrum rather than boosting or cutting individual frequency bands. Turning the knob towards Low adds more warmth and body, while turning it towards High increases clarity and presence. The result is a smooth, natural change in the microphone’s tonal character.

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Tilt EQ is a phantom-powered microphone booster and tone-shaping tool with a simple one-knob design. It lets you rebalance the tonal character of a microphone from Low to High while also providing up to +22 dB of clean gain. It is designed for ribbon, dynamic, and tube microphones.

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NeoLev -FAQ

One single NeoLev lifts up to 8 kg. For example, if you have a speaker weighing 30 kg, you would need 6 NeoLevs to levitate the speaker. For stability we advise to use a minimum of 4 NeoLevs.

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NeoLevs are suitable for nearfield monitors, HiFi speakers, turntables, CD/DVD/Blu-Ray players, preamps, power amps or anything else you want to decouple.

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The inner stainless steel ring of each NeoLev is adjustable. This ensures perfect levelling.

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Phantom Blocker -FAQ

Before you connect the device you wish to shield from phantom power, make sure your phantom blocker is attached to the cable and have phantom power engaged. Wait 5 seconds, during which phantom blockers internal bleeder resistors will cancel out voltage differences. Connecting in this order prevents the transfer of an initial AC voltage burst created by the phantom power switching on.

Phantom power can be applied to either the male or the female side of phantom blocker’s XLR connector and will not reach the opposing XLR connector, the audio signal travels without restriction in both directions.

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• Microphones

There are microphones (mainly ribbon microphones) which do not tolerate phantom power. Connecting a ribbon microphone to a cable which has phantom power applied sends a rush of current through the microphone’s transformer, this current gets amplified by the transformer into the primary circuit of the microphone and forces the ribbon out of the magnetic field it is suspended in, this can permanently stretch the ribbon. We advise to use our FetHead to add clean gain and protect your ribbon microphone against phantom power.

• Microphone preamps 

Some (vintage) preamps are sensitive for phantom power at the input. The preamp’s input transformer cannot handle phantom power from another source. The transformer’s thin silk isolations can burn out because a burst of phantom power switching on creates a high voltage in the input transformer. To prevent this a complete blocking is needed.

• Unbalanced TRS to XLR cables

When connecting an unbalanced TRS to XLR cable, pin 3 of the XLR connector is directly connected to ground, creating a short, this can damage input transformers and under dimensioned phantom power circuits.

• Balanced device outputs

Our phantom blocker is a great solution to protect the output of any device connected to the XLR input of a mixing desk or preamp which has phantom power switched on, e.g. your computers audio interface.

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Some older ribbon microphones do not tolerate phantom power. Our FetHead uses phantom power to power its circuitry, but doesn’t pass phantom power to the microphone, so rest assured your ribbon mics are safe. The following products will protect your microphone:

  • FetHead
  • FetHead Filter
  • FetHead Germanium
  • FetHead Transformer
  • Phantom Blocker
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