500 Series Preamps – The First Step in the Signal Chain
Microphone preamps are among the most important building blocks of any recording. In the 500 Series format, they combine professional-grade amplification with the advantages of a modular system, allowing engineers and producers to tailor their signal path to specific requirements. Gain, character, and flexibility are at the heart of their role.
Whether transparent, highly detailed, or intentionally colored, 500 Series preamps influence from the very beginning how vocals, instruments, and acoustic spaces are captured and ultimately perceived.
The question is rarely which preamp is objectively “the best.” What matters is which module best suits the microphone, source material, workflow, and desired sonic outcome.
The 500 Series format allows high-quality microphone preamps to be deployed flexibly within a modular system. This makes it possible to combine different sonic characters, features, and signal paths in a highly deliberate way.
At the same time, 500 Series preamps vary significantly in design, circuit topology, and sonic character. Some modules are built for maximum neutrality and transparency, while others intentionally add saturation, density, or harmonic coloration to the signal.
Particularly when working with premium microphones and demanding recording applications, it becomes clear how much influence a preamp can have on the final result. In many cases, the benefit lies less in dramatic tonal changes and more in improved detail, dynamic integrity, and better decisions made during the recording process itself.
In practice, technical specifications tell only part of the story. What matters is how a module interacts with the microphone, source, converter, and the rest of the signal chain.
That is why you will not find a random collection of 500 Series preamps at Peakhouse Audio. Our selection is based on hands-on studio experience, direct comparisons, and modules that have proven themselves in professional recording, broadcast, and production environments.
If you are unsure which 500 Series preamp best suits your setup, we are happy to help with equipment selection, integration, and signal-flow planning.
Less collecting modules for the sake of it—and more focus on preamps that help you make the right decisions from the very beginning.
AEA RPQ503
AEA RPQ503 500-Series Microphone Preamp The AEA RPQ503 is a high-end 500-series microphone preamp with integrated EQ, specifically designed for ribbon microphones but equally suitable for dynamic and condenser mics. Based on AEA’s third-generation RPQ circuitry, it combines ultra-high input impedance, extremely clean gain and musical tone shaping directly at the front end of the signal chain, making it ideal for professional recording applications. Sound Character The RPQ503 delivers an open, transparent yet musical sound with excellent detail. Low-end: deep and controlled Mids: clear and natural Highs: open and detailed Its ultra-high input impedance (approx. 68 kΩ) allows ribbon microphones to perform at their full potential without loading effects. The integrated CurveShaper™ EQ provides smooth and musical tone shaping, even with significant adjustments. Highlights ✔ 500-series microphone preamp with integrated EQ ✔ AEA Gen 3 preamp circuitry (RPQ-based) ✔ ultra-high input impedance (approx. 68 kΩ) ✔ wide gain range: approx. 7 – 85 dB ✔ ultra-low noise and distortion ✔ CurveShaper™ EQ (LF/HF shelving, ±20 dB) ✔ continuously variable frequency ranges ✔ mic/line switching ✔ polarity reverse switch ✔ +48 V phantom power Typical Applications ✔ ribbon microphones (optimized impedance matching) ✔ high-end vocal recording ✔ acoustic instruments (guitar, piano, strings) ✔ orchestral and classical recording ✔ low-output sources ✔ premium studio signal chains Technical Specifications ✔ Format: 500-series module (single slot) ✔ Gain: approx. 7 dB – 85 dB ✔ Input impedance: approx. 68 kΩ (phantom off) ✔ EQ: 2-band shelving (LF: approx. 40–675 Hz / HF: approx. 2–28 kHz) ✔ EQ range: ±20 dB ✔ Noise: approx. -130 dBu ✔ THD+N: approx. 0.0018% ✔ Max output: approx. +27 dBu ✔ Power: via 500-series rack ✔ Connectivity: rack-dependent (XLR)
AEA TRP500
AEA TRP500 500-Series Microphone Preamp The AEA TRP500 is a high-end single-channel 500-series microphone preamp from AEA’s third-generation lineup, specifically designed for ribbon microphones. It is based on the original TRP circuit and delivers ultra-high gain, extremely low noise and very high input impedance. With its minimal signal path and discrete JFET design, the TRP500 provides highly transparent and direct signal amplification, making it ideal for professional recording environments. Sound Character The TRP500 delivers an open, natural and slightly musical sound with excellent detail. Low-end: deep, warm and controlled Mids: clear and natural Highs: open and detailed Despite its neutral design, it adds a subtle musical richness that complements ribbon microphones. Its ultra-high input impedance ensures optimal microphone performance without loading effects. Highlights ✔ 500-series microphone preamp (single slot) ✔ optimized for ribbon microphones ✔ ultra-high gain: up to approx. 85 dB ✔ very high input impedance (up to approx. 100 kΩ) ✔ discrete DC-coupled JFET circuit ✔ ultra-low noise and distortion ✔ switchable high-pass filter (115 Hz / 230 Hz) ✔ polarity reverse switch ✔ +48 V phantom power ✔ minimal signal path for maximum transparency Typical Applications ✔ passive ribbon microphones ✔ low-output dynamic microphones ✔ high-end vocal recording ✔ acoustic instruments (guitar, piano, strings) ✔ orchestral and classical recording ✔ premium studio signal chains Technical Specifications ✔ Format: 500-series module (single slot) ✔ Channels: 1 ✔ Gain: up to approx. 85 dB ✔ Input impedance: approx. 66 kΩ – 100 kΩ ✔ Circuit: DC-coupled JFET gain stage ✔ High-pass filter: 115 Hz / 230 Hz (6 dB/octave) ✔ Max output: approx. +28 dBu ✔ Noise: approx. -130 dBu ✔ Connectivity: via 500-series rack (XLR) ✔ Power: via 500-series rack
AMS Neve 1073LB
AMS Neve 1073LB The AMS Neve 1073LB is a classic mono microphone preamp in 500-series format, bringing the legendary sound of the original Neve 1073 console preamp into a compact lunchbox module. The unit uses the same discrete Class-A circuit with transformer-balanced inputs and outputs, delivering the unmistakable Neve tone known for warmth, punch and musical harmonic coloration. “LB” stands for Lunchbox, meaning the module fits into any compatible 500-series rack or API lunchbox system, making it a compact solution for high-end analog front-end recording setups. Sound Character The 1073LB delivers the classic Neve sound with powerful midrange, rich low end and smooth high frequencies. Its transformer-coupled design with Marinair-spec transformers and multiple discrete gain stages provides up to 80 dB of microphone gain, making it suitable for condenser, dynamic and ribbon microphones alike. Highlights ✔ classic Neve 1073 Class-A microphone preamp ✔ 500-series lunchbox format ✔ Marinair transformers for authentic Neve tone ✔ up to 80 dB gain ✔ mic and line inputs ✔ switchable input impedance ✔ 48 V phantom power and polarity reverse ✔ front combo XLR/TRS input ✔ signal presence LED
AMS Neve 88RLB
AMS Neve 88RLB The AMS Neve 88RLB is a premium 500-series mono microphone preamp based on the preamp circuit of the legendary Neve 88RS recording console. It brings the sound and performance of a large-format Neve console into a compact lunchbox module for modern studio setups. The unit features a custom Marinair® transformer-balanced microphone input combined with an electronically balanced output stage, delivering subtle analog warmth while maintaining high transparency and wide bandwidth. Supporting mic, line and DI inputs, the 88RLB provides a versatile recording front-end suitable for microphones, instruments and line-level sources. Sound Character The 88RLB delivers a clean, detailed Neve sound with controlled warmth and excellent headroom. Unlike more colored vintage designs, the 88RS preamp architecture emphasizes clarity and accuracy, while the Marinair transformer adds subtle analog character when desired. The Re-Gen feature allows line and DI signals to pass through the microphone transformer, adding classic Neve tonal coloration when needed. Highlights ✔ mono microphone preamp in 500-series format ✔ derived from the Neve 88RS console preamp ✔ Marinair® transformer-balanced mic input ✔ mic, line and DI inputs ✔ up to +70 dB microphone gain ✔ Re-Gen transformer coloration feature ✔ variable high-pass filter (31.5 – 315 Hz) ✔ intelligent 48V phantom power ✔ -20 dB pad and polarity reverse ✔ front combo XLR/TRS input ✔ compatible with API 500-series racks
API 512C
API 512c The API 512c is a legendary discrete microphone, line and instrument preamp in API 500-series format, based directly on the classic API-312 preamp design. It has become one of the most widely used API modules in professional recording studios worldwide. The module uses API’s classic signal architecture with discrete Class-A circuitry, API 2520 op-amp and proprietary transformers, delivering the recognizable API sound with strong transient response, powerful midrange and high headroom. The 512c provides a microphone input, balanced line input and front-panel Hi-Z instrument input, allowing flexible use with microphones, instruments or line-level sources. A dedicated output level control makes it possible to drive the input stage harder for API transformer coloration while controlling final output level. Sound Character The API 512c delivers the classic fast, punchy and direct API preamp sound. Its discrete circuitry responds extremely quickly to transients and produces a clear, powerful signal with strong midrange definition. It is especially popular on drums, vocals, guitars, bass and percussion. Highlights ✔ microphone, line and instrument preamp in API 500-series format ✔ classic API 312 circuit design ✔ discrete Class-A circuit with API 2520 op-amp ✔ proprietary API output transformer ✔ up to 65 dB gain ✔ output level control for variable saturation ✔ front-panel Hi-Z instrument input ✔ 48 V phantom power ✔ 20 dB pad ✔ polarity reverse ✔ peak LED
API 512V
API 512V The API 512V is a professional microphone, line and instrument preamp in standalone rack format, based on the classic API 512c / API 312 circuit design and delivering the legendary API sound in a flexible outboard format. It combines the traditional API discrete signal path with additional gain and output control features for modern recording workflows. At its core is the classic API 2520 op-amp circuit combined with proprietary API transformers, producing the recognizable API sound with fast transient response, punchy midrange and strong headroom. Unlike the 512c, the 512V adds variable output control, allowing engineers to drive the input stage harder for API saturation while independently adjusting output level. The preamp also includes switchable microphone, line and Hi-Z instrument inputs, along with standard studio features such as pad, polarity reverse and phantom power. Sound Character The API 512V delivers the classic fast, direct and punchy API preamp sound. Transients remain precise, mids stay forward and low frequencies sound tight and energetic. It performs exceptionally well on drums, vocals, guitars, bass and synthesizers. Highlights ✔ microphone, line and instrument preamp in standalone rack format ✔ classic API 312 / 512 circuit design ✔ discrete API 2520 op-amp design ✔ proprietary API transformer stage ✔ variable output control for saturation shaping ✔ up to 65 dB gain ✔ front-panel Hi-Z instrument input ✔ 48 V phantom power ✔ 20 dB pad ✔ polarity reverse ✔ peak LED metering ✔ 19-inch rack / 1U
Avedis Audio MA5
Avedis Audio MA5 The MA5 was created to fill the need for a high-quality microphone preamplifier with the characteristic sound of early ‘70s British Class-A consoles. The re-engineering in the creation of the MA5 stemmed from years of experience restoring both American and British modules, deeply rooted in classic transformer-balanced, discrete electronics. Only the best and most suitable components are used throughout, regardless of cost, to attain the best sound. Over a year was spent on the MA5- not only on the engineering side of the design, but also in extensive sound evaluation with observation of specific settings, gain structures, and key components. We have always believed that our ears' sensitivity coupled with experienced judgment of sound is still unparalleled- even with some of the best audio test analyzers which we own and use. In the end, it is our ears we are trying to satisfy. The MA5’s full and open sound is due to a rich harmonic content, particularly in the very low frequencies- even down to, and below, 10Hz. The clear mids and smooth highs come through without sounding dull or smeared. Features: - Standard 500 series modular size 1.5" x 5.25" - Single-ended Class A amplifier - UK-made Carnhill/St Ives input transformer - Custom-designed Jensen output transformer - Stepped-gain rotary switch in 5dB steps - Output level pot for trim and mute - LED-lit pushbuttons - 28kHz feature brings out high frequency detail - Custom-made Marconi-style knobs - High headroom & CMR, low noise design
Avedis Audio MD7
Avedis MD7 Mikrofonvorverstärker - Diskreter Class-A 500er Mic-Preamp mit DI Input/Return, HPF, Phase, 48V - The MD7 addresses the features needed in op-amp based preamps and, more importantly, with a very musical sound without the conventional hard sounding and mid-forward units which are not suitable for today’s digital recordings. The MD7 does not have a PAD and doesn’t need it. The usual place for the PAD in a conventional circuit is before the input transformer and the big reason why we’ve heard over the years that it changes the sound. With the MD7, the full range and dynamic signal hits the Jensen input transformer first, adding it’s own signature to the sound. The MD7’s additional class A amplifier buffers the INPUT TRIM control for even better adjustment of level compared to a fixed PAD of other conventional microphone preamps. We took a long time working on the DI to make it n important part of the MD7’s sound, rather than just an added feature. The input impedance is 10M ohm meaning that you can connect all kinds of instruments, including sensitive high end piezo pickups which require a wide bandwidth and a very high input impedance. If customized level control is needed for the DI circuit, there is a small hole at the side of the unit’s cover which can access a small trim potentiometer. You can adjust the level’s using a small flat head screwdriver. Features: • Gain range from 0dB – 64dB in 4dB steps for recall-ability • Input Trim control for fine control of gain • Utilizes the discrete 1122 op-amp known for depth and resolution • All discrete design with class A buffer amplifier • Wide bandwidth, high headroom, low noise • NO PAD, NO IC’s, and NO Surface Mount Components • Line Input to interface with DAW’s • Phase reverse, and filtered 48V phantom power • High Pass Filter using a gentle slope for natural bass roll-off • 10 Meg-ohm high impedance DI input great for all instrument pickups • SEND feature to run signal through stomp boxes for variety of effects Specifications: • Frequency Response: <10Hz to -3dB at 75kHz • Input Impedance: ≅1500 ohms • Output Impedance: <75 ohms • Common Mode Rejection Ratio: >123dB min @ 60Hz • Maximum Output Level: +28.8 dBu @ 100KΩ, +27.4 dBu @ 600Ω • Power Requirements: ±16 vdc @ 35mA per rail • Gain Voltage: 0 to 22 Volts • Gain dB: 0 to 64.7 dB • Equivalent Input Noise: −114 dBu; Unweighted 300kHz bandwidth • Weight: 2.6 lbs
Burl Audio B1
Burl Audio B1 The Burl Audio B1 is a high-end, fully discrete Class-A microphone preamp in API 500 series format, designed for professional recording environments. It combines classic transformer-based design with modern analog circuitry, delivering Burl’s signature sound: warm, punchy, and musical. The B1 features a fully discrete, capacitor-free Class-A signal path and uses proprietary BX3 input and BX2 output transformers, providing depth, punch, and harmonic coloration. Sound Character The B1 delivers powerful analog tone with flexible control. Its transformer-based Class-A design provides a dense, three-dimensional sound with strong low-end and musical saturation, while still maintaining clarity and openness. With independent gain and output level controls, users can shape the tone precisely: high gain → saturation and harmonic richness lower gain → cleaner, more transparent sound Highlights ✔ 500 series microphone preamp (mono) ✔ fully discrete Class-A, capacitor-free signal path ✔ BX3 input + BX2 output transformers ✔ up to 70 dB gain ✔ independent gain and output level controls ✔ impedance selection (ideal for ribbon mics) ✔ front-panel DI input (Hi-Z) ✔ pad, phantom power, phase reverse ✔ stepped gain control for recall ✔ classic Burl transformer tone Typical Applications ✔ vocals with warmth and presence ✔ guitars and bass (DI and amps) ✔ drums (punch and transient detail) ✔ synths and line-level processing ✔ hybrid workflows (re-amping through analog preamp) Technical Specifications ✔ type: microphone preamp / DI (500 series) ✔ channels: 1 (mono) ✔ gain: up to 70 dB ✔ circuit: discrete Class-A ✔ transformers: BX3 input BX2 output ✔ inputs: XLR mic 1/4" DI input ✔ features: pad, phantom power, phase reverse, impedance select ✔ format: API 500 series module
Chandler Limited Germ 500 MKII
Chandler Limited Germ 500 MKII The Chandler Limited Germ 500 MKII is a high-end, fully discrete Class-A microphone preamp in 500 Series format, delivering the distinctive sound of classic germanium-based circuits in a compact modular design. As an updated version of the original Germ 500, the MKII features improved power compatibility and refined ergonomics for modern 500-series racks. It uses germanium transistors and transformer-balanced circuitry, providing the same sonic character as Chandler’s full-size Germanium preamps—rich, warm and harmonically detailed. Sound Character The Germ 500 MKII delivers a classic Germanium tone—smooth, warm and highly musical. Key characteristics: full, rounded low end soft, slightly rolled-off highs rich midrange presence Its defining feature is the feedback control, which shapes not only gain but also harmonic distortion and frequency response—allowing everything from clean amplification to saturated vintage tones. The THICK switch enhances low frequencies, adding weight and depth to sources. Highlights ✔ microphone preamp in 500 Series format (single slot) ✔ Class-A circuit with germanium transistors ✔ transformer-balanced design ✔ feedback control for tone shaping ✔ up to +65 dB gain ✔ THICK switch for enhanced low end ✔ built-in DI input ✔ pad, polarity reverse, +48V phantom power ✔ same sound as rack-mount Germanium series ✔ MKII update with improved power compatibility Typical Studio Applications ✔ vocals with vintage character ✔ guitar and bass DI recording ✔ drums (kick, snare, room mics) ✔ synths and keys ✔ creative saturation and coloration ✔ modular 500-series channel strips Technical Specifications ✔ device type: microphone preamp (500 Series module) ✔ channels: mono ✔ circuit: Class-A, discrete germanium transistor ✔ gain: −5 to +65 dB ✔ input impedance: approx. 200 Ω ✔ DI input: 1/4", 100 kΩ ✔ pad: included ✔ phantom power: +48 V ✔ polarity: switchable ✔ connections: via 500 Series backplane ✔ power: ±16V (500 Series standard) ✔ format: 500 Series, single slot
Chandler Limited TG2-500
Chandler Limited TG2-500 The Chandler Limited TG2-500 is a high-end, fully discrete 500 Series microphone preamp that faithfully recreates the legendary EMI TG12428 console preamp used at Abbey Road Studios. Based on the original TG consoles from the late 1960s and early 1970s, it brings the iconic sound of classic recordings like Abbey Road and The Dark Side of the Moon into modern modular studio setups. The TG2-500 adapts the full signal path of the larger TG2 Preamp/DI into a compact 500 Series module, making it ideal for building flexible analog channel strips. Sound Character The TG2-500 delivers the classic “TG sound”—warm, punchy and highly musical. It features a slight high-frequency lift with open clarity, combined with rich low-end and strong midrange presence. Often described as: → “creamy and smooth with an open top end” The discrete transistor circuitry and transformers add subtle harmonic saturation, resulting in a sound that is both detailed and characterful. Highlights ✔ microphone preamp in 500 Series format (single slot) ✔ based on EMI TG12428 console preamp (Abbey Road) ✔ fully discrete transistor design with transformers ✔ up to +60 dB gain ✔ coarse gain (20–50 dB stepped) + fine gain ±10 dB ✔ switchable input impedance: 300 / 1200 ohms ✔ mic/line switching ✔ +48V phantom power, polarity reverse ✔ output level control for saturation shaping ✔ authentic Abbey Road tone in compact format Typical Studio Applications ✔ vocals (warm, detailed and present) ✔ acoustic instruments ✔ drums and percussion (punch and clarity) ✔ guitar recording and re-amping ✔ 500 Series channel strip setups ✔ analog tracking workflows Technical Specifications ✔ device type: microphone preamp (500 Series module) ✔ channels: mono ✔ circuit: discrete transistor, transformer-balanced ✔ gain: up to +60 dB ✔ coarse gain: +20 to +50 dB (5 dB steps) ✔ fine gain: ±10 dB (continuous) ✔ inputs: mic/line switchable ✔ input impedance: 300 / 1200 Ω ✔ phantom power: +48V ✔ polarity: switchable ✔ power: ±16V (500 Series standard) ✔ format: 500 Series, single slot
Cranborne Audio 500 Series Bundle
Cranborne Audio 500 Series Bundle The Cranborne Audio 500 Series Bundle combines three of Cranborne Audio's most distinctive analogue 500 Series modules to create a complete recording and mixing channel strip: the ultra-transparent Camden 500 microphone preamp, innovative Carnaby 500 Harmonic EQ, and highly versatile Brick Lane 500 Compressor. Together they cover the three fundamental stages of professional analogue signal processing – preamplification and saturation, tonal shaping, and dynamics control. What makes this combination particularly interesting is Cranborne's approach to analogue design. Rather than simply recreating established vintage circuits, all three modules employ original modern topologies. Camden 500 combines exceptionally clean amplification with switchable Mojo saturation, Carnaby 500 uses Cranborne's proprietary Harmonic EQ® technology instead of conventional EQ processing, and Brick Lane 500 completes the chain with a highly flexible Modal PWM compressor offering six distinct compression personalities. The resulting channel strip can therefore move seamlessly from almost completely transparent processing to pronounced analogue character. Sound Character The Camden 500 provides the foundation of the signal chain. In Clean mode it is exceptionally neutral, fast and quiet, offering up to 68 dB of gain. Microphones and instruments can therefore be amplified without automatically imposing a pronounced vintage signature. When more character is desirable during recording, the Mojo circuit provides two different analogue saturation flavours. Thump introduces additional harmonic energy into the low-frequency region, giving bass, kick drums and vocals additional perceived weight. Cream generates more complex harmonic saturation and transient shaping, evoking some of the characteristics associated with classic valve and transformer stages. The Carnaby 500 takes a fundamentally different approach from conventional parametric equalisation. Its three bands use Cranborne's proprietary Harmonic EQ® technology, generating frequency-dependent harmonic saturation as part of the equalisation process. Carnaby therefore changes not only the level of a frequency region but also its harmonic structure. The result can provide organic, musical enhancement at subtle settings or far more pronounced creative tone shaping when pushed harder. The Brick Lane 500 completes the chain with comprehensive dynamics processing. Its Modal PWM architecture provides six distinct compression personalities, covering an unusually wide range of behaviours – from smooth level control to fast, punchy compression and deliberately characterful dynamics processing. Precision detented controls also make settings easy to recall. Together, the three modules form an exceptionally versatile analogue chain for tracking, mixing and sound design – pristine and neutral when fidelity is paramount, or increasingly dense, harmonically rich and characterful when creative processing is required. Highlights ✔ complete three-module 500 Series channel strip bundle ✔ includes 1 × Camden 500 ✔ includes 1 × Carnaby 500 ✔ includes 1 × Brick Lane 500 ✔ preamp, Harmonic EQ and compressor in one complete analogue processing chain ✔ suitable for recording, mixing and creative sound shaping ✔ Camden 500 with up to 68 dB microphone gain ✔ exceptionally low-noise, transparent Camden signal path ✔ Mic, Line and Hi-Z operation ✔ Camden Mojo saturation ✔ Thump and Cream Mojo flavours ✔ Carnaby 500 with Cranborne Harmonic EQ® technology ✔ three interactive Harmonic EQ bands ✔ frequency-dependent harmonic saturation rather than purely conventional EQ ✔ musical low-, mid- and high-frequency processing ✔ Brick Lane 500 with innovative Modal PWM compression ✔ six distinct compression personalities ✔ from transparent dynamics control to pronounced analogue character ✔ analogue lookahead limiting ✔ precision detented controls for reliable recall ✔ wireless stereo linking between two Brick Lane 500 modules ✔ three original modern analogue designs rather than vintage circuit recreations ✔ ideal for building a premium channel strip within a professional 500 Series system Typical Applications ✔ premium vocal chains ✔ lead and backing vocals ✔ acoustic instruments ✔ electric guitar and bass ✔ bass DI ✔ drums and percussion ✔ synthesizers and drum machines ✔ analogue tone shaping while tracking ✔ individual track processing during mixing ✔ stem processing ✔ reamping virtual instruments ✔ harmonic saturation ✔ creative dynamics processing ✔ building a complete analogue channel strip within a 500 Series rack Technical Specifications Bundle Contents: ✔ 1 × Cranborne Audio Camden 500 Mic/Line/Hi-Z Preamp ✔ 1 × Cranborne Audio Carnaby 500 Harmonic EQ ✔ 1 × Cranborne Audio Brick Lane 500 Compressor ✔ required rack space: 3 × 500 Series slots Camden 500: ✔ type: Mic / Line / Hi-Z preamp ✔ Mic gain: up to 68 dB ✔ gain control: 12-position switched ✔ Mojo modes: Thump / Cream ✔ variable analogue Mojo saturation ✔ 80 Hz high-pass filter ✔ +48 V phantom power ✔ polarity reverse ✔ exceptionally low-noise and low-distortion preamp topology ✔ outstanding frequency and phase linearity Carnaby 500: ✔ type: 3-band Harmonic EQ® ✔ fully analogue 500 Series module ✔ Low, Mid and High bands ✔ boost/cut generates frequency-dependent harmonic saturation ✔ interactive Harmonic EQ bands ✔ Optosync for linking two modules in stereo applications ✔ electronically balanced input and output Brick Lane 500: ✔ type: Modal PWM compressor ✔ 6 compression modes ✔ comprehensive Threshold, Ratio, Attack and Release control ✔ make-up gain ✔ analogue lookahead limiting ✔ Mix control for parallel compression ✔ sidechain filtering ✔ precision detented controls ✔ wireless stereo linking between two Brick Lane 500 modules ✔ 500 Series format The bundle does not include a 500 Series chassis. A compatible 500 Series rack such as a Cranborne 500R8, 500ADAT or another suitably specified 500 Series chassis is required for operation.
Cranborne Audio Camden 500
Cranborne Audio Camden 500 The Cranborne Audio Camden 500 is an exceptionally low-noise and transparent 500 Series microphone, line and instrument preamplifier that combines uncompromising neutrality with controllable analogue coloration. Cranborne Audio developed its fully discrete, transformerless Camden preamp topology specifically for the limitations and requirements of the 500 Series format. The result is a modern preamp with extremely low noise and distortion, enormous bandwidth and outstanding phase linearity. Its defining feature is the ability to combine two traditionally opposing approaches. With coloration bypassed, Camden 500 is exceptionally clean, fast and neutral, making it ideal for premium microphones, acoustic instruments and critical recording applications. When additional character is required, the fully analogue Mojo saturation circuit provides two distinct flavours – Thump and Cream. Saturation can be continuously varied from subtle harmonic enhancement to deliberately obvious vintage-style coloration, or removed from the signal path entirely. Sound Character In its clean configuration, the Camden 500 is designed to amplify the incoming signal with remarkably little alteration. With a frequency response extending from below 5 Hz to beyond 200 kHz, EIN below −129.5 dBu and THD+N below 0.0004% under the specified measurement conditions, its technical performance places it firmly among exceptionally transparent preamplifier designs. Transients remain precise, high frequencies open and low frequencies controlled without imposing a predetermined sonic signature on the source. Gain is controlled by a premium 12-position switch, providing repeatable settings and up to 68 dB of microphone gain. Cranborne also matches Camden preamps to within 0.1 dB, making pairs particularly suitable for critical stereo recording. Engaging the Mojo circuit introduces an entirely different side of Camden 500. Rather than building permanent coloration into the preamplifier, Cranborne allows the amount of character to be continuously adjusted. Thump generates additional harmonic energy in the low-frequency region. Unlike conventional EQ, the process is dynamic and responds to the existing low-frequency content of the source. Bass guitar, kick drums and synthesizers can consequently sound larger and more substantial without simply applying a conventional bass boost. Cream provides stronger harmonic enrichment with characteristics reminiscent of classic valve and transformer stages. It also dynamically smooths transients and changes the perceived balance of the upper frequencies. The effect can range from subtle analogue smoothness to deliberately pronounced saturation. This effectively gives Camden 500 three distinct tonal personalities: ultra-transparent clean gain, powerful Thump and harmonically rich Cream. Highlights ✔ single-channel microphone, line and instrument preamp for 500 Series ✔ fully discrete, transformerless Camden preamp topology ✔ exceptionally transparent and neutral clean performance ✔ up to 68 dB microphone gain ✔ premium 12-position stepped gain control ✔ extremely low < −129.5 dBu EIN ✔ THD+N of <0.0004% under specified measurement conditions ✔ exceptionally wide frequency response extending beyond 200 kHz ✔ extremely low phase shift ✔ dedicated Mic, Line and Hi-Z operating modes ✔ high-quality integrated instrument DI ✔ analogue Mojo saturation circuit ✔ two Mojo characters: Thump and Cream ✔ continuously variable Mojo amount with true bypass ✔ Thump for low-frequency harmonic enhancement ✔ Cream for harmonic richness and vintage-style transient smoothing ✔ Line mode allows Mojo to be used during mixing and reamping ✔ 80 Hz high-pass filter ✔ +48 V phantom power ✔ polarity reverse ✔ generous input and output headroom ✔ individual Camden preamps matched within 0.1 dB for stereo use ✔ designed specifically for the 500 Series format ✔ designed and engineered in the United Kingdom Typical Applications ✔ lead and backing vocals ✔ acoustic guitar ✔ electric guitar ✔ bass and electric bass DI ✔ kick drum ✔ snare and toms ✔ drum overheads ✔ piano and keyboards ✔ synthesizers and drum machines ✔ high-quality stereo recording with two modules ✔ transparent recording front end ✔ analogue saturation while tracking ✔ DAW track reamping ✔ harmonic processing of stems and virtual instruments Technical Specifications ✔ type: Mic / Line / Hi-Z preamp with analogue saturation ✔ format: 500 Series ✔ topology: fully discrete, transformerless ✔ Mic gain: 8 – 68 dB ✔ Line gain: 0 – 60 dB ✔ Hi-Z gain: 3 – 63 dB ✔ gain control: 12-position stepped ✔ Mojo modes: Thump / Cream ✔ Mic input impedance: 8.9 kΩ with 48 V off / 5.4 kΩ with 48 V on ✔ Line input impedance: 24.3 kΩ ✔ Hi-Z input impedance: 1.5 MΩ unbalanced / 3 MΩ balanced ✔ maximum Mic input level: +17.6 dBu ✔ maximum Line input level: +26.5 dBu ✔ maximum Hi-Z input level: +24 dBu ✔ maximum output level: +27.5 dBu ✔ output impedance: 150 Ω ✔ EIN: < −129.5 dBu, 150 Ω source, unweighted ✔ A-weighted EIN: < −131 dBu ✔ THD+N: <0.0004%, 1 kHz, 35 dB gain, +24 dBu output ✔ frequency response: ±0.25 dB, <5 Hz to >200 kHz at 35 dB gain ✔ frequency response at maximum gain: <±1 dB, <5 Hz to >200 kHz ✔ phase shift: <2.25°, 20 Hz – 20 kHz at 40 dB gain ✔ high-pass filter: 80 Hz, −3 dB, 12 dB/octave ✔ CMRR: >70 dB, typically >85 dB ✔ slew rate: 20 V/µs ✔ current draw: approx. 120 mA per rail idle / 140 mA per rail typical ✔ dimensions: 31.8 × 133.35 × 170.11 mm (W × H × D)
Elysia mpressor 500
Elysia mpressor 500 The Elysia mpressor 500 is a high-end fully discrete Class-A compressor in API 500 format, designed for both precise dynamics control and creative sound shaping. As a compact version of the original rack unit, it delivers the same sonic character and advanced functionality in a space-saving module. Its feed-forward design with a transconductance amplifier (TCA) enables extremely fast response times and highly controlled compression. In addition to standard parameters like threshold, ratio, attack, and release, the mpressor offers a wide range of advanced features that go far beyond conventional compressors. Unique features include negative ratios, anti-log release, auto fast, and a gain reduction limiter that caps the amount of compression. The THD Boost function allows harmonic saturation and tonal coloration without affecting the compressor’s control behavior. Sound Character The mpressor 500 delivers a modern, punchy, and highly detailed sound. Compression remains transparent and controlled, but can also become aggressive and characterful when pushed. Its versatility ranges from subtle dynamic control to extreme creative effects. Transients remain well-defined, and low frequencies stay tight and powerful. With features like THD Boost and negative ratios, the unit can add harmonic richness, punch, and unique character—from clean processing to heavily stylized dynamics. Highlights ✔ Class-A compressor in API 500 format (single slot) ✔ fully discrete analog signal path ✔ feed-forward design with TCA technology ✔ extremely fast attack times (down to ~0.01 ms) ✔ wide parameter range for maximum flexibility ✔ negative ratios for creative compression ✔ anti-log release for dynamic effects ✔ auto fast for adaptive attack control ✔ gain reduction limiter for controlled extreme processing ✔ THD boost for harmonic coloration ✔ stepped controls for precise recall Typical Applications ✔ creative dynamic processing and sound design ✔ adding punch to drums and percussion ✔ aggressive compression for modern productions ✔ vocal and instrument shaping ✔ mix bus and parallel compression Technical Specifications ✔ device type: compressor / limiter ✔ circuit: discrete Class-A (feed-forward, TCA) ✔ format: API 500 series (1 slot) ✔ attack: approx. 0.01 – 180 ms ✔ release: approx. 5 ms – 2.5 s ✔ frequency response: <10 Hz – 390 kHz (-3 dB) ✔ dynamic range: approx. 99 dB ✔ noise: approx. -79 dBu (A-weighted) ✔ max level: +21 dBu (in), +22 dBu (out) ✔ impedance: 10 kΩ (in) / 68 Ω (out)
Elysia skulpter 500
Elysia skulpter 500 The Elysia skulpter 500 is a high-end fully discrete Class-A microphone preamp in API 500 format that goes far beyond traditional preamps. Designed as a complete recording front end, it combines preamplification, sound shaping, and dynamics processing in a single module. Its audiophile Class-A circuit is based on a precision resistor network, delivering exceptionally natural and detailed signal amplification. The signal path is enhanced by a dual sound shaper (saturation + filter), an integrated dynamics section, and a variable low-cut filter—allowing users to create a “finished” sound directly during recording. With its high-headroom DI input, the skulpter 500 is equally suited for microphones and instruments such as guitars, basses, and synthesizers. Sound Character The skulpter 500 offers an open, natural, and modern sound character. The preamp is highly transparent, capturing fine details with precision. Its dual sound shaper allows controlled harmonic enhancement—from subtle warmth to more pronounced saturation—while the integrated dynamics section adds controlled compression for a polished, mix-ready sound. The result ranges from clean and pristine to punchy and characterful. Highlights ✔ Class-A microphone preamp in API 500 format ✔ fully discrete analog signal path ✔ dual sound shaper (saturation + filter) ✔ integrated dynamics section (compressor) ✔ variable low-cut filter (10 – 375 Hz) ✔ wide gain range up to approx. 65 dB ✔ balanced DI input with high headroom ✔ LED metering for level, gain, compression, and clipping ✔ +48V phantom power ✔ stepped gain control for precise recall ✔ compact 500-series module (single slot) Typical Applications ✔ recording front end for vocals and instruments ✔ sound shaping during tracking ✔ DI recording for bass, guitar, and synths ✔ modern “finished sound” production without plugins ✔ high-end preamp for hybrid workflows Technical Specifications ✔ device type: microphone preamp / channel strip ✔ circuit: discrete Class-A ✔ gain range: approx. 3 – 65 dB ✔ frequency response: 10 Hz – 170 kHz (-3 dB) ✔ THD+N: approx. 0.007 % ✔ noise floor: approx. -97 dBu ✔ max input level: approx. +19 dBu ✔ filter: variable low-cut (10 – 375 Hz) ✔ dynamics: integrated compressor (RMS, soft-knee) ✔ inputs: mic (XLR), DI (jack) ✔ format: API 500 series (1 slot)
H2 Audio 2128
H2 Audio 2128 The H2 Audio 2128 is a 500 series mic preamp based on the iconic Helios found on the Helios console at Olympic studios. The H2 Audio 2128 delivers up to 70dB of gain and includes all the usual controls including a -20dB pad, polarity reversal switch and 48V phantom power. It also includes a selectable high-pass filter. Several improvements have also been included to make them fit in modern workflows, including a new Cinemag Input transformer and an output section that includes an output transformer and an output fader. The H2 Audio 2128 recreates the unmistakable sound of the Helios 0011 pre with its characteristic larger than life and open sound heard on some of the most legendary records in history by the Rolling Stones, Led Zeppelin, David Bowie and many more.
Harrison Audio 32Cpre+
Harrison Audio 32Cpre+ The 32Cpre+ takes the high-performance, transformer-coupled microphone preamp from the 32Classic studio console, combines it with the renowned Harrison LP/HP filters, and delivers it in 500 Series format. Inspired by the iconic Harrison 3232, the 32Classic mixing console and preamp is an American icon reimagined, delivering the tone that helped create some of the most iconic albums of the 70s’ and 80s’. Thanks to the 32Cpre+, that Harrison sound is now available in 500 series format. Legacy in analog Harrison consoles have helped create some of the most highly regarded and influential music in history. Michael Jackson, ABBA, Led Zeppelin, Queen, Donald Fagan, and many more iconic artists have relied on Harrison production tools to help create their multi-platinum albums. The latest range of 500 series modules from Harrison harnesses the sound and features that engineers like Bruce Swedien, Roger Nichols, and Reinhold Mack trusted to make music that stands the test of time. The Harrison tone The 32Cpre+ delivers the warm, rich tone that Harrison is renowned for. Full low-end, open mid-range, and super-smooth, natural highs are what to expect from this Jensen JT-MB-CPCA transformer-coupled mic-pre. The gentle roll-off at each end of the frequency spectrum and delicate phase shift created by the 1:1 ratio transformer produces a mic pre that sounds so sweet you’ll use it on any source material. Tools for tracking The 32Cpre+ delivers +20 to +70 dB of smooth gain capable of driving a wide range of mic types, including ribbon. In addition to 180 ° Phase, 48V, -20 pad, and HiZ impedance switches, the front panel features combo XLR with ¼” jack connector that lets you plug a microphone or instrument into the 32Cpre+ directly without having to access the rear panel of the 500 Series rack. Legendary Harrison filters A Harrison mic pre wouldn’t be complete without our legendary filters. As found in the original 3232 and latest 32Classic console, the filters have a musical 12dB/octave slope, with the High Pass Filter featuring a characterful 3 dB resonant peak. The High Pass Filter range is 25 Hz – 3.1 KHz, and the Low Pass Filter is 160 Hz – 20 KHz. Key features: The sound of Harrison. Jensen JT-MB-CPCA transformer-coupled mic-pre. +20 to +70 dB of gain. Front-mounted combo XLR with ¼” jack connector. 48V phantom power switch. Polarity reverse switch. HiZ impedance switch. Input overload LED. Compatible with 500 Series format chassis.
Hazelrigg Industries DVA
Hazelrigg Industries DVA The Hazelrigg Industries DVA is a high-end hybrid tube microphone preamp and DI in API 500 format, bringing classic D.W. Fearn circuit design into a compact module. As part of the Hazelrigg D Series, it is directly inspired by the renowned VLC and VT-2 designs. At its core is a 6072A vacuum tube input stage combined with a clean, high-output solid-state gain stage. This hybrid design delivers classic tube warmth along with modern clarity, low distortion, and high headroom—optimized for the 500-series format. Transformer-balanced input and output stages further enhance harmonic richness and musicality, while practical features like pad, high-pass filter, and phantom power make it a versatile recording tool. Sound Character The DVA delivers a large, open, and highly musical sound with excellent depth and presence. Like high-end tube preamps, it makes sources feel bigger and more dimensional without sacrificing clarity. The tube stage adds harmonic richness and subtle compression, while the solid-state output ensures stability and precision. The result is a balance of vintage warmth and modern transparency. By driving the input stage (e.g. using pad and gain), users can shape the tone from clean and detailed to saturated and characterful. Highlights ✔ hybrid tube microphone preamp / DI in API 500 format ✔ based on D.W. Fearn VT-2 / Hazelrigg VLC designs ✔ 6072A vacuum tube input stage ✔ transformers on input and output ✔ approx. 60 dB gain ✔ solid-state output stage for low distortion and high headroom ✔ DI input for instruments ✔ -20 dB pad for hot signals ✔ +48V phantom power ✔ high-pass filter ✔ polarity reverse ✔ LED output indicator Typical Applications ✔ high-end vocal recording with tube character ✔ acoustic instrument recording ✔ DI recording for bass, guitar, and synths ✔ drum and room microphones for added depth ✔ analog front end for hybrid studios Technical Specifications ✔ device type: microphone preamp / DI ✔ format: API 500 series (single slot) ✔ circuit: hybrid (tube + solid-state) ✔ tube: 6072A ✔ gain: approx. 60 dB ✔ inputs: mic / line / instrument (front DI) ✔ features: pad, HPF, phantom power, polarity reverse ✔ signal path: transformer-balanced I/O ✔ processing: analog
Heritage Audio 73JR II
Heritage Audio 73JR II The Heritage Audio 73JR II is a high-end 500-series microphone preamp that faithfully recreates the legendary sound of classic 1073 console designs in a compact modular format. Designed for professional recording, mixing, and hybrid studio environments, it delivers authentic vintage tone with modern flexibility. Unlike many 500-series implementations, the 73JR II remains true to the original design by featuring a fully discrete three-stage Class-A circuit and an internal 24V power supply—ensuring identical headroom, performance, and saturation behavior to classic console modules. Sound Character The 73JR II delivers the classic “1073 sound”—warm, punchy, and musical. Its three-stage gain architecture provides up to 80 dB of gain, making it suitable for all microphone types, including low-output ribbon microphones. The combination of Class-A circuitry and Carnhill transformers produces rich harmonics, focused mids, and a solid low-end foundation. The result is a bold analog tone that ranges from clean and detailed to richly colored vintage character. Highlights ✔ 500-series microphone preamp in classic 1073 style ✔ fully discrete three-stage Class-A design ✔ true internal 24V power supply for authentic performance ✔ up to 80 dB gain for all microphone types ✔ custom Carnhill input and output transformers ✔ Class-A JFET DI input ✔ 50 dB Class-A line preamp ✔ switchable input impedance (LO-Z) ✔ variable high-pass filter (approx. 20–220 Hz) ✔ pad, phase reverse, and 48 V phantom power ✔ output trim for saturation control ✔ compatible with all 500-series racks Typical Applications ✔ vocal recording with classic console tone ✔ guitar, bass, and DI tracking ✔ drum and instrument recording ✔ reamping and analog coloration ✔ modular 500-series recording setups Technical Specifications ✔ type: single-channel mic/line/DI preamp (500-series) ✔ circuit: discrete Class A (three-stage) ✔ gain: up to >80 dB (mic) ✔ line gain: approx. 50 dB ✔ frequency response: approx. 20 Hz – 20 kHz ✔ THD: < 0.025% @ 1 kHz ✔ noise: approx. -125 dBu EIN ✔ max output: > +26 dBu ✔ input impedance: 1200 / 300 Ω switchable ✔ DI input: > 2 MΩ ✔ I/O: mic/line (XLR), DI (jack) ✔ format: 500-series module
Heritage Audio LANG 312L
Heritage Audio LANG 312L The Heritage Audio LANG 312L is a high-end 500-series microphone preamp based on the classic “New York style” console sound of the 1970s. Designed for professional recording, mixing, and hybrid workflows, it delivers exceptional gain, fast transient response, and a punchy, dynamic tone. With up to 90 dB of gain, the 312L is one of the most powerful preamps in its class, capable of driving even the most demanding microphones—including ribbon and vintage models—without the need for external boosters. Sound Character The LANG 312L delivers classic American console tone—direct, punchy, and highly dynamic. Its ultra-fast transient response makes it ideal for percussive sources such as drums and guitars, while the combination of discrete circuitry, custom op-amp, and transformers provides a dense, powerful sound with a solid low-end. The integrated +25 dB lifter ensures optimal performance with gain-hungry microphones, maintaining clarity and low noise. Highlights ✔ 500-series “New York style” microphone preamp ✔ up to 90 dB gain ✔ built-in +25 dB lifter for ribbon and dynamic microphones ✔ ultra-fast transient response ✔ HA-880 custom op-amp design ✔ 2622 LANG input transformer + CineMag output transformer ✔ combo input (XLR / DI) for mic and instrument ✔ high-impedance DI input (> 2 MΩ) ✔ -20 dB pad, phase reverse, and 48 V phantom power ✔ extremely low noise and high dynamic range ✔ compatible with all 500-series racks Typical Applications ✔ drum recording (kick, snare, overheads) ✔ guitar and bass tracking with fast transients ✔ vocal recording with dynamic and ribbon microphones ✔ DI recording for instruments ✔ modern and classic American-style recording chains Technical Specifications ✔ type: single-channel mic/line/DI preamp (500-series) ✔ circuit: discrete, transformer-balanced ✔ gain: +15 dB to 90 dB ✔ lifter: +25 dB additional gain ✔ frequency response: 20 Hz – 20 kHz ✔ THD: < 0.005% @ 1 kHz ✔ noise: < -130 dBu EIN ✔ max output: > +30 dBu ✔ input impedance: 1200 Ω / 10 kΩ (lifter) ✔ DI input: > 2 MΩ ✔ outputs: transformer-balanced (CineMag) ✔ format: 500-series module (single slot)
Locomotive Audio 40AM-1
Locomotive Audio 40AM-1 A 1940s American-Style Octal Tube Preamp Designed for Big, Thick Results Introducing the 40AM preamp, your gateway to achieving that coveted vintage 1940s sound. Drawing inspiration from iconic models such as the RCA BA-11A and Gates SA-70, this preamp combines design elements from each into one ultimate creation. Packing a powerful punch but versatile enough to be used on a wide range of sound sources, the 40AM will help produce recordings that embody the warmth and character of a bygone era. The 40AM Experience While it is possible to drive into distortion by overloading the input or hitting maximum output headroom, the 40AM's true beauty lies in the subtle nuances available by adjusting any combination of its features. Whether you’re choosing between input transformer windings or utilizing the 5-position Response switch, you can easily tailor the sound of any source. With added features like a 20 dB pad, 85 Hz low cut filter, and a high impedance DI, the 40AM is an essential addition to your rack, allowing you to sculpt the sound you desire. TRANSFORMERS Premium MuMetal shielded inputs and nickel & steel outputs are wound in-house. TUBES Two octal 6SJ7 tubes (one used as pentode & one strapped as triode) amplify the signal with 52 dB of max gain OUTPUT LEVEL LED A 3-color LED indicator shows signal level. Green -> Yellow -> Red RESPONSE KNOB A 5-position rotary switch allows the user to tailor overall tonal balance for any given source INPUT KNOB The 40AM features a versatile 5-position Input Switch, allowing users to select their preferred input transformer winding configuration in both MIC and LINE modes. This influences the frequency response and the signal level sent to the first 6SJ7 tube. Both the (500Ω) MIC INPUT and (LOW) LINE INPUT configurations provide approximately 4.5 dB of additional gain. LEVEL KNOB The Level knob provides users with the flexibility to make precise signal level adjustments. It's important to note that it interacts slightly with the response knob based on its setting. As the signal is attenuated, users may notice a subtle darkening of the sound. However, by working in tandem with the response knob, adjustments can be made to compensate for any changes in tone. 40AM INSPIRATION Combining vintage circuits requires time and patience to achieve the perfect balance. However, when executed correctly, you can harness the strengths of each to create an exceptional hybrid. The RCA BA-11A pentode input paired with its triode output and feedback structure of the Gates SA-70 come together to produce the rich, compressed sound of the 40AM, beautifully complementing its 86B and WT-72 siblings. Unlock Your Creativity Finding the right piece of gear to give your sound that "special something" might be one of the hardest parts of engineering. In our opinion, having an exciting combination of tools at your fingertips is the best way to get your creative juices flowing. The 40AM-2 will help to unlock your audio engineering mind and allow you to focus on creating truly impressive audio.
Locomotive Audio 86B-1
Locomotive Audio 86B-1 American-Style Mono Tube Preamp – Versatility Redefined with the 86B-1 Looking for an all-encompassing tube preamp that brings warmth, clarity, and a vintage touch to your sound? The 86B-1 Mono Tube Preamp is designed for versatility, capturing everything from shimmering vocals and natural acoustics to punchy drums and richly saturated overdrive. Built with engineers and producers in mind, the 86B-1 offers an expansive tonal range, all wrapped in an American-style mono tube circuit reminiscent of the 1950s.
Mother Audio KAMAYA
Mother Audio KAMAYA introducing Kamaya by Mother Audio, a Class A circuit microphone preamp that draws inspiration from vintage British classic console preamps. The name "Kamaya," meaning "precious one" in Hawaiian, reflects the unique and exceptional character this preamp brings to your audio experience. Unlocking up to 62 dB of gain for your microphones, Kamaya goes beyond amplification. It breathes life into your sound, adding a distinctive dimension that sets it apart from other preamps in the market. Custom Transformers for Sonic Brilliance Embedded within Kamaya are custom, in-house handmade transformers, a product of meticulous research, experimentation, and testing. The input transformer, inspired by the legendary Marinar 10468 (aptly named 10568), boasts a higher ratio tailored to our preferences. This transformer shapes the sound right from the input, making Kamaya vibrant and unique. Versatile Gain Control One standout feature of Kamaya is its three gain controls. The first adjusts attenuation after the input transformer, the second manages gain through negative feedback, and the third allows output attenuation. This preamp is a gain control beast, enabling you to sculpt your sound from lush and smooth to aggressive and tube-like saturated. The possibilities are endless with these precision knobs. Exceptional Sound Across Instruments After rigorous testing in some of the best EU studios, Kamaya proved to shine, especially on drums, with a notable impact on kick drums. Surprisingly, for a coloration-type preamp, it revealed an exceptional affinity for piano sound. The natural harmonics of the piano seemed to harmonize with Kamaya's unique song. Describing Kamaya's sound is a challenge—it's simultaneously expansive and open, finely saturated, and propelled forward in the lower mids. Fine-Tune Your Audio Experience By maximizing the Negative Feedback, Kamaya transforms into an aggressive and saturated force. Simultaneously, a slight roll-off of high frequencies occurs, enhancing overall smoothness and creating a more pleasant sound. Kamaya offers a versatile palette for audio enthusiasts, allowing you to sculpt your sound with precision and creativity. Elevate your audio journey with Kamaya—where craftsmanship meets sonic excellence. Features Circuit: Class A , discrete IN: Transformer balanced MAX GAIN: 62 dB NF GAIN CONTROL Phase Reverse Phantom Power +48v PAD -20dB Specs Freq Response: +-0.5dB 10Hz-40kHz Maximum output level: +27 dBu Input impedance: 1.2k Output Impedance: Less than 75 Ohms Noise: <-85 dBA (NFB on min.) THD: 0.01% at NFB min. Max. current draw: 90mA per rail
Pope Audio PRE-BX 500
Pope Audio PRE-BX 500 The Pre BX is an all analogue Class A/B microphone preamplifier with character and versatility at the forefront of its design ethos. It features transformer-balanced high-gain mic/instrument I/O, integrated BAX EQ for subtle sculpting of tones, and a clean, intuitive interface for ease of operation. Sculpt Your Sound Uniquely, The PRE-BX employs an integrated Baxandall EQ with both high-end and low-ends controls independently adjustable via the dual-concentric pot. Whether adding remarkably natural-sounding top-end sparkle to acoustic instruments or darkening harsher sounding program material it is perfect for honing the perfect tone at the source. A 1:1/3:1 output attenuator switch allows the Carnhill Transformer to be driven for added character and saturation on bass-heavy material, alongside controls for phase switching, Mic/Hi-Z front input selector and +48v Phantom power for condenser microphones. Features High Gain Mic preamp Integrated Baxandall EQ Fully analogue path Phase Switch Transformer-balanced I/O with 3:1 optional attenuator Alternative front-panel mic/hi-Z input Hand-built in the UK
Retro Instruments 500PRE
Retro Instruments 500PRE We took the circuit topology of the Sta-Level and packed it into a single width 500 module. The 500PRE three tube gain stage exhibits the same detail and depth. As with all Retro products, the feeling of the musical performance is delivered with the Retro Instruments 500PRE. Distortion, Noise and Frequency Response of the 500PRE are outstanding; but overload characteristics are not generally revealed by standard measurements. The 500PRE tubes gracefully limit the signal at +18 dBu. Whether you’re just going for clean gain or pushing the 500PRE into overdrive, it won’t ever sound plastic and brittle like solid-state amplifiers can. Transient detail is unrestrained. The Retro 500PRE doesn’t sleep when you’re done tracking. Use the 500PRE as a high-energy limiter during mix-time. The 500PRE design purposely has the limiter effect of tube amplifiers. You’ll love to use it as a limiter to fatten all kinds of tracks. The Retro 500PRE works within API 500 rack power limitations. Each 500PRE consumes 160 ma of power, slightly above the 130 ma VPR-compliant allocation. We recommend racks with quiet linear power supplies like the API models. When power requirements are observed, the rack and 500PRE will provide years of reliable service. The Retro 500PRE uses three 12AT7 tubes that are readily available as new production or new-old-stock. A user can select from a wide variety. Your unit uses the new production TAD 12AT7 and these tubes are expected to last for a very long time under the 500PRE operating conditions. We use soft-start circuitry that minimizes stress to the tubes and power supply. The 500PRE takes less than a minute to warm up and perform. Specifications Front Panel Controls: Input Level, Gain Select (two or three stage amplifier), Phantom Power, Polarity, and Output Level. Input and Output Connections: On edge card connector for 500 rack XLR. Gain: 48 dB (low gain two stage topology) 76 dB (high gain three stage topology) Total Harmonic Distortion: <.05% at +4 dBu output from 20-20000 Hz. Frequency Response: +/- .25 dB from 20-20000 Hz EIN: -128 dB (150 Ohm terminated) Typical Output Level: +4 dBu Output Clipping Level: Tube limiting Threshold +18 dBu, +24 dBu clipping headroom. Input Level Range: -72 dBu to +12 dBu Input impedance: >1000 Ohms from 20-20000 Hz. Output Impedance: 600 Ohms Transformer Balanced. Power Consumption: +/-16 Volts 155 ma. 48 Volts 3 ma. Weight: 2 lbs 7 oz.
Rupert Neve Designs 511
Rupert Neve Designs 511 The Rupert Neve Designs 511 is a professional single-channel microphone preamp for the 500-Series format, combining the classic Rupert Neve sound with the flexibility of modular studio systems. The design draws from the Portico series architecture and features discrete Class-A circuitry with a transformer-coupled output stage. With up to 66 dB of gain, a sweepable high-pass filter and the signature Silk / Texture harmonic saturation circuit, the 511 can operate as a transparent recording preamp or provide additional analog coloration when required. Sound Character The 511 delivers a clean, dynamic and harmonically rich preamp tone suitable for a wide range of recording applications. Its discrete Class-A signal path ensures detailed transient response and low noise performance. The Silk / Texture circuit adjusts harmonic content by modifying feedback around the output transformer, allowing engineers to add subtle warmth or more pronounced analog saturation. Highlights ✔ single-channel 500-Series microphone preamp ✔ discrete Class-A signal path ✔ up to 66 dB microphone gain ✔ ±6 dB trim for fine level adjustment ✔ Silk Red harmonic saturation with Texture control ✔ sweepable high-pass filter (20–250 Hz) ✔ 48 V phantom power and polarity reverse ✔ 8-segment LED output meter ✔ supports both microphone and line sources ✔ compatible with all standard 500-Series racks
Rupert Neve Designs 517
RND Rupert Neve Designs 517 Preamp und DI Mikrofonvorverstärker und separater DI im API 500 Format mit Vari-Phase Regler und Silk-Schaltung Der Rupert Neve Designs Portico 517 macht sich aufgrund seiner Vielseitigkeit sowohl bei Live- als auch bei Studioanwendungen schnell unentbehrlich. Er bietet er sowohl einen Mikrofon- als auch einen Instrumenteneingang, dessen Phase sich über den Vari-Phase-Regler stufenlos drehen lässt. Da beide Signale sich im Gerät zusammenmischen lassen, kann so die optimale Phasenlage zueinander eingestellt werden. Ein musikalischer Kompressor mit variablem Threshold verdichtet das Audiosignal wenn gewünscht. Der anwählbare Silk-Schaltkreis sorgt für die begehrte Vintage-Wärme im Audiosignal. Die Mikrofonvorstufe Der Vorverstärker des Portico 517 kombiniert eine herausragende klangliche Qualität mit der Musikalität, die man von einem Rupert Neve Designs erwartet. Dank der extrem geringen Verzerrung, der außerordentlich großen Bandbreite und der zuschaltbaren Silk-Funktion erfasst die Vorstufe jedes noch so winzige Detail des Mikrofonsignals. Der Kompressor Basierend auf einem neuen LDR (Light Dependend Resister) Design wurde der Optokompressor des 517 auf das Wesentliche reduziert und bietet eine Threshold-Regelung mit automatischer Aufholverstärkung. Ab Werk ist der Kompressor auf ein fixes Kompressionsverhältnis von 2:1 gesetzt. Zur Bedienung wird einfach der Threshold so lange verändert, bis die gewünschte Kompression erreicht ist. Eine LED zeigt die Aktivität des Kompressors an. Überblendung In der Instrumentenanwendung dient der Portico 517 zur Phasenanpassung sowie der Überblendung und Komprimierung von direktem (DI) und verstärktem, mikrofonierten Signal (Mic).Mittels der einstellbaren Überblendung zwischen direktem und verstärktem Signal lässts ich schnell die gewünschte tonale Mischung zwischen beiden Quellen einstellen, mittels Phasenlagenregelung können Phasenauslöschungen minimiert werden. Um das gemischte Signal zu komprimieren, muss der Jumper für den Kompressor auf dem "Blend"-Pfad gesetzt sein (Werkseinstellung). Natürlich ist es auf diese Weise auch möglich, ein gemischtes Vocals/Gitarre-Signal zu erzeugen. Vari-Phase Zusätzlich zur normalen Phasenumkehr bietet der Portico 517 ein Vari-Phase-Modul, um die Phasenlage zwischen beiden Eingängen stufenlos zu regeln. Das ist wichitg bei allen Signalen, die von der selben Quelle stammen. Selbst bei sorgfältiger Montage von Trommel (Nahmikrofonierung) und Overheads können Phasenprobleme das Gesamtsignal dumpf oder töpfern klingen lassen. Mittels Vari-Phase kann das Direktsignal in der Phase so lange gedreht werden, bis die Signale in Einklang sind. Diese Technik ist ebenfalls sehr nützlich in Kombination mit der internen Überblendung bei Instrumentenabnahme. Ein Bassist, der den Portico sowohl mit Direkt- als auch mit Mikrofonsignal speist kann beide Signale in ein Summensignal mischen, wobei er diese mittels Vari-Phase in die optimale Übereinstimmung der Phasenlage bringen kann. Features: Überblendfunktion Silk-Schaltung Mikrofonverstärkung bis zu 66dB DI-Verstärkung von 0dB bis 30dB Symmetrischer / unsymmetrischer Hi-Z-Eingang mit Thru-Anschluss 48V Phantomspeisung Phasenumkehr für den Mikrofoneingang Threshold-Regelung bei Kompressor
Shadow Hills Industries Mono GAMA
Shadow Hills Industries Mono GAMA The Mono is the single channel API 500 series version of the GAMA (Golden Age Microphone Amp), with all the capabilities, features, and quality of the original. The Shadow Hills Mono Gama is centered around our custom discrete op-amp. This no-compromise design exudes hugeness, fidelity, punchyness and depth, across the full frequency range, without becoming veiled or choked, the way non-discrete varieties can. The preamplifier input is transformer balanced and utilizes an original Jensen input transformer. We couldn't decide which vintage output transformer we liked best, so we had our favorites perfectly recreated, and included them all. You can change the output transformer by cranking the knob, thus changing the tonal capabilities to compliment to whatever material you are recording. This allows you to audition different settings to find the perfect match for microphone or direct input without patching and un-patching other preamps, and possibly alleviating the need for EQ. Choose between Nickel, Discrete, or Steel settings. Each transformer position is stellar unto itself, but the capability of switching between them is like having three great pre's in one. All the standard Mic-pre features are present: phantom power, phase reverse, a twenty dB pad, and direct input. We have also included the ability to pad and reverse the phase of the Direct Input. Quality is unmatched. Engraved front panels, custom made knobs, and engraved serial number plates, set the build apart.
SSL 500-Series VHD+ Preamp
Solid State Logic SSL 500-Series VHD+ Preamp The Solid State Logic SSL 500-Series VHD+ Preamp is a high-end 500-series microphone preamp combining SSL’s renowned SuperAnalogue™ clarity with advanced harmonic shaping capabilities. It is derived from SSL console technology and offers a wide tonal range—from ultra-clean to heavily saturated. At its core is the Variable Harmonic Drive (VHD+) system, allowing users to blend second-order (tube-like warmth) and third-order (transistor-style edge) harmonic distortion. The module also includes essential studio features such as phantom power, pad, phase invert, Hi-Z input, and a variable high-pass filter, making it highly flexible for different recording scenarios. Sound Character The VHD+ preamp is highly versatile: Clean mode: transparent, detailed SSL sound With VHD: from subtle warmth to aggressive saturation Its ability to shape harmonic content makes it both a precision recording tool and a creative tone-shaping device. Highlights ✔ 500-series microphone preamp ✔ SSL SuperAnalogue™ design ✔ VHD+ harmonic drive (2nd & 3rd harmonics) ✔ clean to heavily saturated tones ✔ up to +75 dB gain ✔ variable high-pass filter ✔ mic, line, and Hi-Z inputs ✔ pad, phantom power, phase invert ✔ flexible front/rear connectivity ✔ usable as DI preamp Typical Applications ✔ high-end vocal and instrument recording ✔ versatile studio front-end ✔ creative saturation and tone shaping ✔ DI recording for guitars, bass, and synths ✔ integration in 500-series setups Technical Specifications ✔ device type: microphone preamp / DI ✔ circuit: analog (SSL SuperAnalogue + VHD) ✔ format: API 500 series (single slot) ✔ gain: up to +75 dB ✔ inputs: mic / line / instrument (Hi-Z) ✔ filter: variable high-pass ✔ features: VHD, pad, phantom power, phase invert ✔ processing: analog
Wes Audio Phoebe
Wes Audio Phoebe WesAudio PHOEBE: Next-Generation Microphone Preamplifier with Digital Recall Elevating Analog Audio with Digital Control The WesAudio PHOEBE is a groundbreaking microphone preamplifier that seamlessly blends the pristine sound quality of analog circuitry with the convenience of modern digital control. This innovative unit captures the essence of classic British preamplifiers, delivering exceptional warmth, clarity, and punch, while introducing advanced features that enhance its versatility and workflow integration. Key Features: 100% analog microphone/line preamplifier with +28dBu of headroom Class A fully analog design inspired by renowned British preamplifiers Microphone gain up to 75dB Carnhill transformers (input and output) for exceptional sonic character Output signal metering on the front panel with clip detection Phantom power and phase invert control Switchable input impedance (1200/300Ohm) for compatibility with vintage microphones Full remote control and parameter recall via the WesAudio GCon DAW plug-in 15dB OUTPUT PAD – passive output attenuation circuit with 1 dB step for precise level control Front panel XLR/TS socket supports HiZ instrument input (TS), line input (XLR), and microphone input (XLR)