FLAMINGO, is a high quality two channel discrete class A microphone pre-amp. It can be operated as a musically transparent pre-amplifier, but is capable of emulating vintage sounds as well as creating distinctive new ones.
The input gain is selected by a stepped switch for gain matching and repeatability. This is followed by a continuously variable attenuator to provide gain trim. Gain is adjustable in 6 db steps to 66 db gain and down to off by the attenuator. Each channel has independently switchable phase and phantom power switches. FLAMINGO also contains a two channel 22 element VU meter with an over load indicator to allow accurate monitoring and ease of level adjustment.
Unique to FLAMINGO are three switches that allow the user to select different sounds; these are the IRON, SOUND and TONE switches. The SOUND switch changes the type of amplifier and the IRON switch puts iron in the audio path. The TONE switch, a 3 position switch, allows for standard - (the original Flamingo sound) when the switch is in the center position, when moved to the right, Flamingo operates as a transparent preamp, and when the switch is in the left most position, it has more color. Needless to say, by using these switches FLAMINGO can produce many different combinations of sounds.
Also added to Flamingo is an input impedance switch. Providing 2 choices, the first is the original Flamingo; the second is to match large diaphragm condenser mics as recommended by David Bock, of Bock Audio. It also has transformer-less balanced inputs and outputs.
FLAMINGO is designed to be flexible and give the user a tool to solve real world recording, broadcast, and sound reinforcement problems. It can provide an artistic choice of sounds at the flip of a switch.
This preamp amplified my almost-line-level Manley C24 microphone better than anything else I’ve used, caused me to put it on my must-buy list. The results of my careful listening tests further convinced me that this is another contender in the best-mic-preamp-I’ve-ever-used category. The added bonus of those two sound coloration switches simply pushed my enthusiasm over the top, since I’d already founduses for them with my own program material. I’d recommend this unit to any studio desiring a versatile stereo mic preamp that can split its personality between seriously transparent and seriously colored. What more could one ask of a mic amplifier?