Lindell Audio LINTEC

BRING THE LAUDED STUDIO CLASSIC HOME

The most renowned studio EQ ever known is now within your reach! With the LiNTEC, you’ll sculpt your tracks hands-on via the classic Pultec-style workflow. Bring air and space to vocals and stringed instruments, beef up the low-end of kick drums and basses, or add a touch of warmth and weight to an entire bus. Once you’ve run your tracks through a LiNTEC, you’ll wonder how you got by with software EQs for so long. And you get all of this for a lot less than the price of other classic hardware EQs.

VINTAGE WORKFLOW FOR YOUR MODERN SOUNDS

LiNTEC’s lean, old-school design offers a shared LF Boost & Cut frequency selection for the low-end, and independent frequency selections for the HF Boost and HF Cut with a shared Bandwidth control. You’ll dial in the precise amount of tone-sculpting necessary to serve your song with no risk of muddying up your midrange. The LiNTECs’ stepped pots ensure easy recall and stereo matching when used in a stereo pair. Its filters are based on classic EQP1A filters; complemented by our own new gain structure design. 

The LiNTEC is also useful for adding a touch of warmth and harmonic content to program material… and will do so even with its EQ set flat! 

CHERRY-PICKED COMPONENTS

With LiNTEC, we broke with tradition by choosing a solid-state design over a tube-driven one. We love tubes as much as the next manufacturer, but in the case of the LiNTEC, solid-state offered myriad benefits that couldn’t be had with tubes:

• A faster transient response with a smooth, creamy, punchy character.
• Lower noise than tube-based equalizers
• Better unit-to-unit matching for stereo pairing - units are matched by hand to within ¼ dB of each other
• No tubes to wear out and replace

The LiNTEC’s op-amp is the same proven OPA 1731 op-amp used in our VIN and Retro series 500-series compressors. Its transformers are custom-designed and made specifically for Lindell Audio.

THE PULTEC LOW-END TRICK

Yes, The LiNTEC does the infamous low-end trick that’s been used to fatten basslines and kick drums on thousands of recordings; just choose the desired LF frequency (try starting at 100 Hz) and turn up both the LF Boost and LF Attenuate controls at the same time to taste.

Documentation for the original Pultec rather bullishly asserted “Do not attempt to boost and attenuate simultaneously on the low frequencies.” So, of course, that’s exactly what curious, rascally engineers did. The result of this simultaneous boost/cut operation is a low-end boost below the selected frequency, with a cut slightly above the selected frequency. This setting results in satisfying thump and body that doesn’t risk muddying the midrange, and has been a not-so-secret trick of engineers and producers ever since.

TECHNICAL SPECIFICATIONS