Triton Audio Fethead Filter

A FetHead variant designed for cleaner low-end recordings

The Triton FetHead Filter follows the concept of a compact inline microphone preamplifier, adding a very recording-oriented approach: a high-pass filter calibrated to reduce excessive low frequencies often caused by the proximity effect, especially with certain long microphones or ribbon mics. The idea is not to change the character of a microphone but to help achieve a clearer low-end, easier to place in a mix, while retaining useful low-noise gain for quieter sources.

Who the FetHead Filter is for and when to use it

This FetHead Filter is aimed at home studio users, sound engineers, content creators, podcasters, and musicians who want to increase level without excessively raising the gain on their audio interface, console, or preamp. It is particularly relevant if you work with demanding dynamic microphones (vocals, guitar, snare, amps) or ribbon microphones whose output level is often lower.

The high-pass filter becomes an ally whenever the proximity effect is too pronounced: vocals overloaded in the low end, instruments recorded very close to the mic, rumble or unnecessary low-frequency energy that muddies intelligibility. Whereas post-production EQ can correct this, the FetHead Filter allows you to clean up the sound at recording, resulting in more consistent takes that are easier to process.

Built-in filter, low-noise gain, and XLR integration: the "plug and record" approach

A 220 Hz high-pass filter to tame the proximity effect

The proximity effect boosts low frequencies when the microphone is close to the source: this can give a very deep voice but also generate overwhelming bass that is hard to control or a muffled sensation. The FetHead Filter integrates a 220 Hz high-pass filter (6 dB per octave slope) to limit excessive bass buildup and promote a clearer, more defined sound without relying on downstream EQ.

A 27 dB boost to ease the load on your main preamp

With 27 dB of gain (3 kOhm load), the FetHead Filter raises the level upstream in your chain, which can allow you to reduce the gain applied by your audio interface or console. The result: a more comfortable level, often with better perception of background noise depending on your setup, and dynamics that are easier to manage on vocals, acoustic instruments, or low-volume sources.

Optimized for dynamics and ribbons, with built-in phantom power protection

The FetHead Filter operates using 24 to 48 V phantom power supplied by the preamp but is designed to block phantom power from reaching the microphone. This is essential if you use ribbon microphones or want to protect your chain: you benefit from the FetHead's active electronics without exposing the mic to phantom voltage.

Simple installation: directly on the mic or in the signal path

The metal chassis houses the electronics and offers a balanced female XLR input and a balanced male XLR output. It can be mounted directly on an XLR-equipped microphone or placed further along the line, between the mic and preamp. This flexibility is convenient in both studio and live settings when you want to improve level and control the low end without changing your usual routing.

A more responsive response, better clarity on many microphones

In practice, this type of inline preamp can make a microphone easier to work with: a sensation of increased responsiveness, a more usable frequency range, and better transient handling depending on the mic and preamp pairing. On well-known dynamics and ribbons, the improvement can be especially noticeable, particularly when recording soft sources or when your preamp lacks sufficient clean gain.

Technical specifications

Gain	27 dB (3 kOhm load)	High-pass filter	6 dB per octave
Components	4 matched JFETs	Frequency	Max at 220 Hz