A top ten of all time studio processing greats would include the Urei/Universal 1176LN, Neve 1073, Lexicon 224XL or 480L, EMT 140 plate, Pultec EQP1A and 1A-3, EAR 660 compressor (or Fairchild 660/670) Neumann U47 and AKG C12/Telefunken 251 and…the GML 8200 parametric eq.

George Massenberg claims to have invested the parametric eq (which allows the user to tune the slope or ‘Q’ of the frequency as well as choose the frequency itself). Who am I to disagree? I’ve never seen any competing claims (not even from Malcolm Toft or John Oram!). In any event, the 8200 dual five band parametric has been around for as long as I can remember, occupying centre space in mix rooms and mastering rooms worldwide. Indeed, I know good engineers who won’t mix without an 8200 strapped across the 2buss.
Decent eq is always a tricky choice, and far too many don’t deliver the goods when the mix is down. The 8200 may be a little ‘clinical’ for some, but it is precise, versatile and reliable. If you know the unit, check us on our price and be pleasantly surprised. If you don’t know it, tut-tut. It’s time to fill the gap in your education.
Eccentric

What the manufacturer says...
Brought to you from the man who invented the very concept of Parametric Equalization, the 8200 has been an industry standard for over twenty years, and can be found on virtually every major recording studio’s stereo bus. Each of the five broadly-overlapping bands offers 15dB of Boost or Cut and adjustable bandwidth (or “Q”) from 0.4 to 4. The lowest and highest bands also can be switched to Shelf mode. Quite simply, the 8200 is the archetype Stereo Parametric Equalizer. Its extraordinary resolution, benchmark transparency, generous headroom, and surgical precision have been the reference for many other equalizers, but exceeded by no other. It fits into a 2U, 19" space and requires the external GML 8355 Power Supply.

High and Low EQ adjustments: (close up of center of front panel pictured above)

Rear panel connections.