KVG Laboratories can design and build for your company musical instruments and a wide variety of audio equipment for every style of recording, genre of music and style of production.
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ORDERING

Please choose the features and options you desire from the lists below. Describe what the equipment will be used for and list any other gear with which it will be used. Please allow us a few days to send you an estimate. We will use your list to create a bill of materials from which we will estimate the cost for you. Our estimate will include a projected delivery date. Remember, everything we make is a unique, handmade original designed just for your personal needs and sound. Therefore, like snowflakes or people, no two are alike.

OPTIONS LIST

Note: these are the most-requested options. Do you need a feature we haven’t listed? Tell us and we’ll design it. Do you want the equipment to use a specific tube we do not list, like exotic Taylor or rare Western Electric types? Tell us and we’ll design for the exact tubes you specify. Please understand that some tubes may be difficult to locate because of their rarity.

MUSIC INSTRUMENTS

Electric guitars, bass guitars, and electric cajons - each individually and made and voiced to the specific musician. Because so many options exist, please email us or telephone for an appointment to discuss your requirements.

POWER AMPLIFIER STAGES

  1. Power Amplifier output stage, 1 watt, single ended triode.
  2. Power Amplifier output stage, 3 watt, single ended pentode with distortion canceller and starved plate pentode driver. Greater detail, better bass and superior imaging compared to old-fashioned SET types.
  3. Power Amplifier output stage, 10 watt output transformerless push-pull using 6AS7G/6080.
  4. Power Amplifier output stage, 10 watt, single ended beam tetrode with distortion canceller and starved plate pentode driver. Greater detail, better bass and superior imaging compared to old-fashioned SET types.
  5. Power Amplifier output stage, 8 watt phase-splitterless push-pull, gives single ended sound with greater dynamics. Perfect for compact systems.
  6. Power Amplifier output stage, 10 watt push-pull. EL84 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  7. Power Amplifier output stage, 20 watt push-pull. 6L6 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  8. Power Amplifier output stage, 20 watt push-pull. 6L6GC output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  9. Power Amplifier output stage, 20 watt push-pull. 6V6 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  10. Power Amplifier output stage, 20 watt push-pull. EL34 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  11. Power Amplifier output stage, 20 watt push-pull. EL84 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  12. Power Amplifier output stage, 40 watt push-pull. 6L6 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  13. Power Amplifier output stage, 40 watt push-pull. 6L6GC output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  14. Power Amplifier output stage, 40 watt push-pull. 6550 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  15. Power Amplifier output stage, 40 watt push-pull. EL34 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  16. Power Amplifier output stage, 50 watt push-pull. 6L6GC output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  17. Power Amplifier output stage, 50 watt push-pull. 6550 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  18. Power Amplifier output stage, 50 watt push-pull. EL34 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  19. Power Amplifier output stage, 80 watt push-pull. 6L6GC output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  20. Power Amplifier output stage, 80 watt push-pull. 6550 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  21. Power Amplifier output stage, 80 watt push-pull. EL34 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  22. Power Amplifier output stage, 100 watt push-pull. 6550 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  23. Power Amplifier output stage, 100 watt push-pull. EL34 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  24. Power Amplifier output stage, 200 watt push-pull. 6550 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.
  25. Power Amplifier output stage, 200 watt push-pull. EL34 output tubes/valves. Uses our Classic Studio design for the best of modern technology and that much-sought-after vintage sound.

HEADPHONE AMPLIFIERS

  1. Headphone adapter interface to add a headphone jack to any power amplifier.
  2. Headphone amplifier, vacuum tube electronics, with acoustic simulator.
  3. Headphone amplifier, vacuum tube electronics, without acoustic simulator.
  4. Headphone amplifier, vacuum tube electronics, with ambient noise canceller system.
  5. Headphone amplifier, vacuum tube electronics, with electric guitar preamplifier.
  6. Headphone amplifier, vacuum tube electronics, with electric bass guitar preamplifier.
  7. Headphone amplifier, vacuum tube electronics, with microphone mixer, up to 5-channels.
  8. Headphone amplifier, solid-state electronics, with acoustic simulator.
  9. Headphone amplifier, solid-state electronics, without acoustic simulator.
  10. Headphone amplifier, solid-state electronics, with ambient noise canceller system.
  11. Headphone amplifier, solid-state electronics, with electric guitar preamplifier.
  12. Headphone amplifier, solid-state electronics, with electric bass guitar preamplifier.
  13. Headphone amplifier, solid-state electronics, with microphone mixer, up to 5-channels.

PREAMPLIFIERS

  1. Microphone preamplifier optimized for ribbon microphones.
  2. Microphone preamplifier optimized for studio-type double-button carbon microphones.
  3. Preamplifier using 12AD7.
  4. Preamplifier using 12AE7.
  5. Preamplifier using 12AT7A/ECC83.
  6. Preamplifier using 12AU7A/ECC82.
  7. Preamplifier using 12AV7.
  8. Preamplifier using 12AX7A/ECC83.
  9. Preamplifier using 12AY7.
  10. Preamplifier using 12AZ7.
  11. Preamplifier using 12BH7.
  12. Preamplifier using 262A.
  13. Preamplifier using 272A.
  14. Preamplifier using 2A6.
  15. Preamplifier using 40.
  16. Preamplifier using 53.
  17. Preamplifier using 5879.
  18. Preamplifier using 6A6.
  19. Preamplifier using 6AU6A/EF94.
  20. Preamplifier using 6DJ8/ECC88.
  21. Preamplifier using 6F7.
  22. Preamplifier using 6J7.
  23. Preamplifier using 6SF5.
  24. Preamplifier using 6SJ7.
  25. Preamplifier using 6SL7.
  26. Preamplifier using 6SN7.
  27. Preamplifier using 7199.
  28. Preamplifier using 75.
  29. Preamplifier using EF86/6267.
  30. Preamplifier using any unusual or special tube/valve for your specific application.
  31. Transformerless microphone preamplifier exhibiting near-perfect square wave response and frequency bandwidth extending to nearly 300,000 Hz! This preamplifier has the warmth of tubes with the clarity usually associated with solid state.
  32. Ultra-low noise and distortion microphone preamplifier. For uncompromised performance with distortion less than 0.03%.
  33. Ultra-low noise microphone preamplifier. For uncompromised performance in the studio.
  34. Phono stage for moving coil AND moving magnet cartridges. RIAA and up to 15 additional EQ curves for serious record collectors..
  35. Phono stage for moving coil AND moving magnet cartridges. RIAA only.
  36. Phono stage for moving coil AND moving magnet. with selectable loading for cartridge. RIAA and up to 15 additional EQ curves for serious record collectors.
  37. Phono stage for moving coil AND moving magnet. with selectable loading for cartridge. RIAA only.
  38. Phono stage for moving coil cartridge. RIAA and up to 15 additional EQ curves for serious record collectors.
  39. Phono stage for moving coil cartridge. RIAA only.
  40. Phono stage for moving coil with selectable loading for cartridge. RIAA and up to 15 additional EQ curves for serious record collectors..
  41. Phono stage for moving coil with selectable loading for cartridge. RIAA only.
  42. Phono stage for moving magnet cartridge. RIAA and up to 15 additional EQ curves for serious record collectors.
  43. Phono stage for moving magnet cartridge. RIAA only.
  44. Phono stage for moving magnet with selectable loading for cartridge. RIAA and up to 15 additional EQ curves for serious record collectors..
  45. Phono stage for moving magnet with selectable loading for cartridge. RIAA only.
  46. 100 Volt phantom power supply for DPA and Bruel & Kjaer microphones.
  47. 48 Volt phantom power supply for condenser microphones.
  48. Bias power for double-button carbon microphones. Specify voltage required.

EFFECTS MODULES

  1. All-tube Chorus.
  2. All-tube Distortion.
  3. All-tube Ducker.
  4. All-tube harmonic enhancer for mastering.
  5. All-tube harmonic enhancer for music instruments.
  6. All-tube harmonic enhancer for vocals or speech.
  7. All-tube overdrive.
  8. All-tube Phase shifter.
  9. All-tube Tremolo.
  10. All-tube VCA.

COMPRESSOR MODULES

  1. Compressor, fast response gain leveler, optoelectronic.
  2. Compressor, fast response gain leveler, optoelectronic. Pure Class A.
  3. Compressor, slow response gain leveler, optoelectronic.
  4. Compressor, variable mu, classic fast response gain leveler design. Adjustable attack/release with selectable times, sidechain insert, desser and our exclusive KickLicker kick and bass guitar compression control.
  5. Compressor, variable mu, classic fast response gain leveler design. Adjustable attack/release with selectable times.
  6. Compressor, variable mu, classic fast response gain leveler design. Adjustable attack/release.
  7. Compressor, variable mu, classic fast response gain leveler design. Fixed attack/release optimized for speech vocals.
  8. Compressor, variable mu, classic slow response AGC-style design.
  9. Compressor, variable mu, pure Class A.

EQUALIZER AND TONE CONTROL MODULES

  1. Bass cut optimized for bass guitar, kick drum.
  2. Bass cut optimized for general recording purposes.
  3. Bass cut optimized for snares, cymbals.
  4. Bass cut optimized for vocals.
  5. Bass cut optimized for wind noise or rumble.
  6. Bass cut with selectable turnover points.
  7. Bass/treble tone control optimized for acoustic guitar, dobro, mandolin, banjo and traditional Indian and Asian instruments.
  8. Bass/treble tone control optimized for bass guitar.
  9. Bass/treble tone control optimized for brass instruments.
  10. Bass/treble tone control optimized for cymbals.
  11. Bass/treble tone control optimized for electric guitar.
  12. Bass/treble tone control optimized for kick drum.
  13. Bass/treble tone control optimized for mastering.
  14. Bass/treble tone control optimized for music listening.
  15. Bass/treble tone control optimized for piano and keyboard.
  16. Bass/treble tone control optimized for snare.
  17. Bass/treble tone control optimized for toms.
  18. Bass/treble tone control optimized for vocals or speech.
  19. Bass/treble tone control optimized for woodwinds.
  20. Brightener (treble booster for guitars).
  21. Hollywood-style mastering equalizer with multiple turnover points.
  22. Hollywood-style equalizer with multiple turnover points for vocals and speech.
  23. Classic studio-style mastering equalizer with multiple turnover points.
  24. 3-band equalizer optimized for electric guitars.
  25. 3-band equalizer optimized for snare.
  26. 3-band equalizer optimized for toms.
  27. 7-band equalizer optimized for guitars.

MISCELLANEOUS

  1. Insert points - lets you insert other processors into the signal path, or lets you wrap the equipment around another processor or effect.
  2. Dedicated “clean” output - gives you both the “effected output” and a separate clean output for greater recording flexibility.
  3. Direct Input box, either transformer or active, optimized for any type of instrument. Our DI boxes do not thin the sound or sound lifeless.
  4. Master bus -- to create custom mixers and mixing consoles.
  5. Pan-pots.
  6. Mix-minus inputs.
  7. Input pad -- prevent input overload. Switchable or continuously variable.
  8. Telephone hybrid - connect audio inputs or outputs to telephone lines.
  9. Correlator - to visually monitor spatial imaging.
  10. Ground lift.
  11. Peak limiter diode array, sharp knee.
  12. Peak limiter diode array, soft knee.
  13. Phase rotator - tightens up stereo imaging.
  14. Background Sound Reduction System - make clean recordings even in noisy environments. Requires a dedicated microphone, ideally the same as the mic you are recording with, to pickup the background sounds.
  15. Harmonic Enhancer optimized for mastering.
  16. Harmonic Enhancer optimized for vocals, dialog, narration and speech.
  17. Harmonic Enhancer optimized for guitars and bass.
  18. Harmonic Enhancer optimized for drums.
  19. Synthetic Bass Enhancement.
  20. Phase reverse.
  21. Reverb, long delay.
  22. Reverb, medium delay.
  23. Variable “speed control” (a combination of variable inverse feedback or variable bias used to alter the transient response or subjective character of a piece of equipment).
  24. VU Meters.
  25. Peak meters.
  26. Tally light relays.
  27. CR monitor muting relays that activate when a mic is opened.

CONNECTOR OPTIONS

  1. Balanced inputs and outputs with selectable impedance. Specify connectors and impedances.
  2. Balanced inputs with selectable impedance. Specify connectors and impedances.
  3. RCA inputs and outputs, audiophile type.
  4. Input selector switching. Specify standard rotary switch, audiophile rotary switch, or relay board with pushbutton switches.
  5. Integral patch bay/patch panel for maximum flexibility.