AEA RPQ500 Preamp The RPQ500 module, designed after the successful RPQ preamp, provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, in a 500 series package. The RPQ500 has been enhanced with additional features, turning it into a workhorse tool for your API 500 compatible rack. The preamp delivers the bandwidth and quietness needed for high resolution recording. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The input impedance of 10,000 Ω means the RPQ500 will not load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance. The CurveShaper™ offers a natural option for sculpting your sound right at the start of the signal path. Switchable and tunable low frequency (LF) and high frequency (HF) controls allow you to tame proximity problems and provide HF extension and slope control. The high-frequency CurveShaper™ excels at adding a touch of air or presence, and the low-frequency control can remove boxiness and boominess in a fast and unobtrusive way. The bottom line is a versatile channel strip that will deliver an unadulterated performance in any application. The Line/Mic switch bypasses the microphone gain stage and allows the EQ to be used for tracking with other preamps or during mixdown. Add the output level control and the RPQ500 becomes a high-quality processing tool that can be used for mixing and mastering when combined with summing racks and mixers such as the Purple Audio Moiyn or the Roll Music Folcrom. The original RPQ with CurveShaper™ was designed to fully capture every nuance of ribbon microphones: vintage or modern, passive or phantom-powered. Engineers have discovered that the RPQ also complements their moving coil, tube and solid-state mics. By virtue of its sonic qualities and versatility, the AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is needed.

AEA RPQ503 Der RPQ503 ist die nächste Evolutionsstufe in AEAs bewährter Reihe von Vorverstärkern mit hoher Impedanz und hoher Verstärkung. Basierend auf dem Schaltungsdesign der dritten Generation unseres renommierten RPQ3 bringt der RPQ503 denselben vollen, natürlichen Klang in das 500-Series-Format. Er verfügt über eine leistungsstarke Kombination aus ultrarauscharmen, verzerrungsarmen Operationsverstärkern, extrem hoher Eingangsimpendanz von 68 kΩ und 85 dB sauberer Verstärkung – und liefert so außergewöhnliche Klarheit und Detailtreue. Mehr als nur ein Vorverstärker enthält der RPQ503 auch die erweiterte EQ-Sektion des RPQ3 mit Anhebungs- und Absenkungsreglern für Bässe und Höhen mit speziellen kompakten, doppelt konzentrischen Potentiometern. Offen und transparent, aber ebenso reaktionsschnell und dynamisch, ist der RPQ503 ein vielseitiges Werkzeug am Anfang jeder Signalkette.Features: • 1-Slot-500-Series-Vorverstärker • AEA-Vorverstärkerschaltung der 3. Generation • Extrem hohe Eingangsimpendanz von 68 kΩ (Phantomspeisung aus) • 7 bis 85 dB Verstärkung • LF/HF stufenlos einstellbare Frequenzbereiche • EQ-Anhebung/-Absenkung: ±20 dB • EQ-Ein/Aus-Schaltung; Mittelrastung bei EQ-Gain-Reglern • +48 V Phantomspeisung • Polaritätsschalter • Mikrofon-/Line-Eingangsschalter (Line-Eingang umgeht Mikrofonvorverstärker) • Hergestellt in den USA

AEA TRP500Der TRP500 basiert auf der Schaltung und Topologie des originalen AEA TRP-Vorverstärkers. Damit bietet auch er all die Qualitäten, für die Vorverstärker von AEA bekannnt sind – vom extrem musikalischen Klang über die kraftvolle Verstärkung bis hin zur ultrahohen Impedanz von 100.000 Ohm. Er unterstreicht auf musikalische Weise die unvergleichliche Wärme und den satten Klang von Bändchen- und anderen Spitzenmikrofonen. 85 dB rauscharme, DC-gekoppelte JFET-Verstärkung Schaltbare Phantomspeisung & Polaritätsumkehr Ultrahohe Impedanz (66.000 Ohm) Umschaltbarer 115 Hz oder 230 Hz Hochpassfilter Made in USA

AMS Neve 1073LB Designed and manufactured in England, the 1073®LB retains the unique sonic characteristics of the original 1073® Classic microphone preamplifier by using the same architecture, matching components and original hand-wound transformers. And it delivers it in a modern and portable form-factor that professional producers and engineers demand.With new features like a fine TRIM control, switchable microphone input impedance, signal presence LED, intelligent protected switching of front combi-XLR input connector and Neve’s clever Audio Processing Input design, the 1073®LB takes your 500 series rack to the next level.Simply install into an empty slot in your compatible 500 series rack, connect your microphone or line level signals and inject that legendary sound into your audio creations. Classic transformer microphone preamp amp (Class A design) Exclusive Neve®  Marinair™ transformers used on input and output stages Both Mic and Line inputs are transformer balanced and earth free Gain knob with Signal Presence LED +5/-20dB level Trim control with integrated phantom power on/off switch Phase, Impedance and Front Input selector switches Front combi-XLR connector with intelligent switching of phantom power Audio Processing Insert design allows processing from adjacent 1073® LBEQ and/or 2264ALB modules in same 500-series rack to be inserted into the 1073LB’s pre-output stage Microphone Input: Gain -80db to -20dB in 5dB steps Line Input: Input impedance 4k ohms bridging, gain -20dB to +10dB in 5dB steps Output is transformer balanced and earth free Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) Freq Response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz Crafted in England by Neve®  engineers Compatible 500-series rack/enclosure with Power Supply and line-level input/output connectors required, not supplied.

API 512c Der API 512c ist ein Mic/Line Pre Amp und DI. Die max. Verstärkung beträgt 65 dB, -20dB Pad - Schalter, LED VU-Meter, 48V Phantom Spannung, Phase reverse, Mic / Line Anwahl, Mic / Line und DI - Eingang an der Modul Frontplatte und auf der Gehäuse Rückseite.. The API 512c is a mic / line / instrument preamp designed to provide a low noise, unusually good sounding front end for all types of audio systems. Sonically, it offers the distinct API sound at an extremely affordable price. Offering low noise (-129 EIN) and 65 dB of gain, the 512c includes phantom power, and switchable polarity, -20 dB pad and Mic/Line or Instrument selector. Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed into an API lunchbox®, API's 10 position 500V vertical rack, or an API console. The API 512c remains faithful to the circuit designs of API's founder, Saul Walker. Fully featured and still hand assembled, the 512c carefully preserves the original sound character that made it so much a part of the early days of recording. Offering high headroom and a wide variety of inputs and input access points, it is equally at home in the commercial recording studio as it is in the home project studio. The 512c Mic/Line Preamp makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of all API products. Features Mic Preamp with 65 dB of gain Front and Back Panel Mic Input Access Line/Instrument Preamp with 50 dB of gain Front Panel Line/Instrument Input LED VU meter for monitoring output level 20 dB pad switch, applies to mic/line/instrument 48v Phantom switchable power Traditional API fully discrete circuit design Uses the famous API 2520 Op-Amp

API 512V The API 512v is a mic / line / instrument preamp, world famous for its ability to provide a low noise (-129 EIN) and unusually good sounding front end for all types of audio applications. Sonically, it delivers the instantly recognizable API sound at an affordable price, and in the scalable API 500 Series format. Offering an impressive 65 dB of gain, the 512v includes front panel Variable Output control, switchable 3:1 output transformer selection, phantom power, switchable polarity, -20 dB pad, and Mic or Instrument/Line selector. The front panel Combo-style XLR and 1/4 inch connector combined with rear panel mic access allows for additional flexibility when installed into an API lunchbox®, API's 10 position 500V vertical rack, or into an API console.  Features: Mic Preamp with 65 dB of gain Variable Output Level Control 3:1 Output Transformer Tap Selection Front and Back Panel Mic Input Access Line/Instrument Preamp with 45 dB of gain Front Panel Combo-style XLR + 1/4 inch Line/Instrument Input LED VU meter for Gain Level indication 20 dB pad switch, applies to mic/line/instrument 48v Phantom switchable power Traditional API fully discrete circuit design with 2520 Op Amp Features API's unique Five Year Warranty The API 512v remains faithful to the circuit designs of API's founder Saul Walker. Artfully combining those circuits with API's proprietary transformers and the incomparable 2520 op-amp, the 512v is a highly musical and rich-sounding analog mic pre, equally at home in commercial recording spaces as it is in smaller home studios. Fully featured and still hand assembled, the 512v exhibits the reliability, long life, and uniformity which are characteristic of all API products.

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 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 Preamp inklusive DI-Box, passend für den Formfaktor der API 500 Serie. Introducing the B1 Microphone Pre Amp from Burl Audio.  Based on the API 500 series form factor, the B1 was designed to compliment the B2 Bomber ADC, and give you multi-channel pleasure. With the proprietary BX3 input transformer and BX2 output transformer, the B1 Mic Pre delivers warmth with depth and clarity.  An all discrete transistor, class-A, direct coupled, capacitor free circuit path, gives the B1amazing punch on drums, beautiful tonality on guitars, and warmth with presence on vocals. The B1 comes complete with both Gain and Level controls.  If you want that heavy, gainy tone, crank up the stepped gain control and offset that with the level control.  If clean tone is your thing, turn the gain down and crank up the level. For ribbon mics and other low impedance sources, the B1 has a transformer coupled impedance select.   The B1 was rigorously tested with the popular Royer R-121 in the low impedance setting, and we think it sounds pretty f***ing bitchin'’ on guitar amps. The B1 gets the best out of any microphone, whether it be dynamic, condenser or ribbon. Use the B1’s 1/4” instrument/line input on the front panel, plug in, crank up the gain and go.  The PAD switch allows for hot signals and balanced line inputs through the mic XLR on the back panel.  Run your tracks or mixes through the B1 for warmth and glue. The B1 was designed to rock. Run multiple B1 channels for your rhythm tracks and you are there.  Replace EQ and compression with true analog PHAT.  Run your primary tracks through the B1 mic pre, follow with a B2 Bomber ADC and that's about all you will need. Die Features des B1 Microphone Pre Amp im Überblick: BURL custom BX3 input transformer BURL custom BX2 output transformer audiophile, discrete, class-A, direct-coupled, capacitor free circuit path stepped gain control independent output level control 70 dB gain impedance select 1/4” front panel DI input 30 dB pad for hot signals and balanced line level input phantom power phase reverse tri-colored gain level indication love and thunder

Chandler Limited Germ 500 MKII Der Germ 500 MKII ist eine überarbeitete Version des ursprünglichen Germ 500 Vorverstärkers. Er besitzt ein verbessertes Frontblenden-Layout und ein schöneres Design. Die Schaltung ist komplett mit Germanium-Transistoren in Class-A Technik ausgeführt. Die Ein- und Ausgänge sind mit Transformatoren symmetriert. Des weiteren wurden in dieser überarbeiteten Version Probleme bei der Spannungsversorgung mit manchen Lunchboxen und Racksystemen behoben. Mit dem Germ 500 MKII hat Chandler Limited den bekannten Germanium Preamp auf das Rackformat der 500-Serie übertragen. Durch die Verwendung der gleichen Transformatoren und Verstärkerblöcke wird die selbe Klangqualität wie bei der Rackversion gewährleistet. Eigenschaften Vorverstärkermodul für die 500-Serie Class-A Schaltung mit Germanium-Transistoren Trafosymmetrierte Ein- und Ausgänge Feedback-Regler DI-Eingang Schalter für Bassanhebung (Thick) Technische Daten Anschlüsse: Messerleiste (500er Serie) Verstärkung (max): 60dB Abmessungen (B x H x T): 38,1 x 133,4 x 177,8 mm (1 Einschub im 500er Rahmen) Spannungsversorgung: Netzteil des 500er Racks

Chandler Limited TG2-500 Basierend auf dem populären Chandler TG2 Preamp/D, stellt der TG2-500 den klassischen Sound des EMI TG12428 Vorverstärkers - welcher in den EMI/Abbey Road Aufnahme- und Masteringkonsolen der späten 60er und frühen 70er Jahre zum Einsatz kam - als Modul für die 500-Serie zur Verfügung. Ausgestattet mit identischen Schaltungen, Transistoren und Transformatoren wie der TG2, liefert der TG2-500 eine Verstärkung von 10 bis 60 dB und kombiniert wie seinerzeit die EMI-Konsolen eine grobe mit einer feinen Verstärkungsregelung. Genau wie der TG2 verfügt das Gerät über Eingangsimpedanzen von 300 und 1200 Ohm. Der Chandler TG2-500 liefert einen mit dem TG2 identischen Frequenzgang. Nicht weniger interessant ist, dass er - zusammen mit den warmen Transformator-Verzerrungen, welche zu seinem Klang beitragen - die gleiche Höhenanhebung und den gleichen mittenbetonten Klang besitzt, den Anwender bereits am TG2 schätzen. Das Endergebnis ist ein cremiger, weicher Klang mit überraschend offenen, brillanten Höhen. Dieser wird von vielen Nutzern als eine Kombination aus der Wärme und dem Durchsetzungsvermögen von Neve mit schöneren, erweiterten Höhen beschrieben. Eigenschaften Vorverstärkermodul für die 500-Serie Replik des legendären EMI TG12428 Preamps Diskreter Schaltungsaufbau Trafosymmetrierte Ein- und Ausgänge Zwei Eingangsimpedanzen (schaltbar) Grobe und feine Verstärkungsregelung

Cranborne Audio Camden 500 Der Camden 500 ist ein erstaunlich sauberer, linearer, transparenter Vorverstärker, aber er kann auch eine Menge „Mojo“ liefern. Zwei diskret analoge Sättigungsschaltkreise können eingeschliffen, heiß angefahren oder auch in Bypass geschaltet werden können. Sauber, präzise und natürlich Der Camden 500 bietet, wenn es darauf ankommt, ein Höchstmaß an Klarheit und Detailgenauigkeit. Das Camden-Design erreicht eine beeindruckend rausch- und verzerrungsarme Leistung: -129,8 dB EIN (150 Ohm, ungewichtet) und ein THD+N von nur 0,0002%. Es setzt auch einen neuen Standard für Frequenz- und Phasenlinearität: Frequenzgang ±0,7 dB von 5 Hz bis 200 kHz bei maximaler Verstärkung und <2° Phasenverschiebung zwischen 50 Hz und 20 kHz. Das Ergebnis ist der natürlichste Vorverstärker, den Du jemals gehört hast! Vintage, warm und gefärbt Der Camden 500 bietet mit „Mojo“ einen analogen Sättigungsschaltkreis, der den Camden 500 in den fettesten, wärmsten und am kräftigsten färbenden Mikrofonvorverstärker in Deiner Sammlung verwandelt. Das Design fügt harmonische Obertöne und Sättigungseffekte hinzu, wie sie auch unser Lieblings-Vintage-Gear produziert. Mojo kann ganz subtil sein. Es kann aber auch sehr übertrieben eingesetzt werden. Und es kann natürlich auch vollständig in Bypass geschaltet werden. Custom-Topologie Mit unserer eigens entwickelten, übertragerlosen Front-End-Topologie mit 68,5 dB Gain erreicht der Camden 500 eine bahnbrechende Leistung bezüglich Rauschen, Verzerrung, Frequenzgang und Phasenabweichung über alle 12 Gain-Stufen hinweg. 3-Wege-Eingangswahlschalter Maßgeschneiderte Eingangsimpedanzen und Headroom für Mic-, Line- und Instrumenteneingänge. Das bedeutet auch druckvolle und detaillierte Line-Aufnahmen mit +26,5 dBu Eingangs-Headroom sowie lebendige und natürlich klingende Instrumente über den DI-Eingang dank des einzigartigen BJT-Designs und 1,5 MOhm Eingangsimpedanz. Technische Daten Einfach ausgedrückt ist der Camden 500 einer der saubersten, linearsten und transparentesten Mikrofonvorverstärker auf dem Markt. Die neue „Camden“ Preamp-Technologie ermöglicht uns, die Messlatte von Frequenzgang, Phasenabweichung, Rauschen und THD deutlich nach oben zu setzen, und wir haben alle Daten, um das zu untermauern: EIN: < -129,5 dBu, 150 Ohm, ungewichtet; < -135,5 dBu Inputs Common, ungewichtet THD-N: < 0,0004%, 1 kHz, 35 dB Gain, 24 dBu am Ausgang Phasenabweichung: < 2,25°, 40 dB Gain, 20 Hz bis 20 kHz; < 4°, Max Gain, 20 Hz bis 20 kHz Frequenzgang: < ±1 dB, < 5 Hz bis > 200 kHz, alle Gain-Einstellungen CMRR: > 70 dB, typ. > 85 dB, 35 dB Gain, 10 Hz – 20 kHz, 100 mV Common Mode

Elysia Mpressor 500 Extreme Zeitkonstanten, negative Ratios, Antilog Release und elysias innovativer Gain Reduction Limiter eröffnen ein komplettes Spektrum an einzigartigen Möglichkeiten. Eine neue Funktion des 500er-Moduls ist der THD Boost für Klangfärbung per Knopfdruck und Sättigungseffekte, die den Kompressor kräftiger und auffälliger in Szene setzen.

Elysia Skulpter 500 Ob fein oder fett – das Soundvergnügen endet nicht am Mikrofonschrank. Der elysia skulpter 500 verfügt über einen symmetrischen DI-Eingang mit sehr viel Headroom, sodass auch Gitarren, Bässe, Synthesizer und Effekte in den Genuss eines hochwertigen Audiopfads mit absolut überzeugender Klangveredelung kommen.

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+ 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 DVA Vacuum Tube Microphone Preamplifier/DI: A Blend of Vintage Warmth and Modern Precision The DVA Vacuum Tube Microphone Preamplifier/DI by Hazelrigg Industries is a premium hybrid preamp that combines the best elements of the classic Hazelrigg VLC and the D.W. Fearn VT-2. Designed with a single 6072a vacuum tube, the DVA captures the iconic sound of tube-based preamps while integrating a high-output, low-distortion solid-state signal path, making it a versatile addition to any 500 series rack. A Perfect Fusion of Analog Warmth and Solid-State Clarity The DVA’s design incorporates the VLC/VT-2 input stage, utilizing transformers in both the input and output stages for a rich, full-bodied tone. Unlike traditional vacuum tube circuits, the DVA achieves make-up gain through a solid-state output stage, which allows for low total harmonic distortion (THD) and high output capabilities, an essential feature for the compact 500 series format. Key Features and Specifications The DVA is packed with features that make it a powerful tool for both recording and live performance: Vacuum Tube Microphone Preamp (6072a): Ensures warmth and detail, capturing the character and nuances of the source. Vacuum Tube DI (6072a): Ideal for instruments, this DI offers a lush, natural tone that enhances any input. Transformers in Input and Output: Designed for rich harmonic content and optimal impedance matching. Total Gain of 60dB: Offers ample headroom for a variety of microphones and instruments, ensuring versatility across applications. Polarity Reversal Switch: Allows for easy phase alignment during recording sessions. -20dB Pad Switch: Enables attenuation of hot signals, perfect for high-output microphones and instruments. +48V Phantom Power with LED Indicator: Supports condenser microphones and active DIs with a convenient on/off LED indicator. High Pass Filter Switch: Filters out unwanted low frequencies, reducing rumble and handling noise. User Tips for Optimal Performance The DVA’s high output and classic tube character make it a flexible choice, but there are a few user tips to keep in mind: Handling High-Output Condensers: Many condenser mics have high output levels, which may overload the DVA’s input transformer. If you experience clipping, engage the mic’s pad if available. Exploring Tube Saturation: For a more saturated tone, engage the -20dB pad and send an attenuated signal to the DVA. You can then increase the gain to adjust the tone and saturation level to taste. Built to Last with Professional-Grade Components The DVA boasts the reliability and craftsmanship Hazelrigg Industries is known for. It features premium transformers, a rugged front panel microphone/instrument input, and an output level indicator LED. This preamp/DI is hand-built to ensure each unit meets stringent quality standards. Specifications Recap: Designed by D.W. Fearn: Built on decades of expertise in audio engineering. All-Steel 500 Series Module: Durable and compact, perfect for mobile rigs and studio racks. 7-Year Warranty: Peace of mind with long-term coverage (90 days for vacuum tubes). Elevate Your Sound with the DVA Preamp/DI Whether you’re capturing vocals, acoustic instruments, or amplifying electric guitars, the DVA delivers a warm, detailed, and powerful sound that is sure to enhance any recording or live performance. With classic tube warmth and modern solid-state clarity, the DVA Vacuum Tube Microphone Preamplifier/DI is an indispensable addition to any audio setup.

Heritage Audio 73JR IIEchter 73er Sound. Der 73JR II ist eine Weiterentwicklung des bereits klassischen 73JR - ein echter 73er Mikrofonvorverstärker in einem einzigen 500er-Slot mit neuen Funktionen, die auch die anspruchsvollsten Toningenieure zufrieden stellen. Durch die Verwendung diskreter Schaltkreise und konventioneller Bauteile ist der 73JR II ein originalgetreuer dreistufiger 73er Class-A Vorverstärker. Die Platinen sind ohne Kompromisse ausschließlich mit Styroflex- und Tantal-Kondensatoren bestückt. Der volldiskrete Class-A Hi-Pass-Filter ist von 20 bis 220 Hz durchstimmbar und erlaubt eine effektive Kontrolle des Tieftonbereichs, ohne die gewünschten Signal-Frequenzen zu beeinflussen. Mit Line-Pegel angesteuert können aufgezeichnete Spuren nachverstärkt und leblosen Aufnahmen etwas Farbe zu verliehen werden. Der DI-Eingang mit automatischer Eingangsumschaltung durch Einführen eines Klinkensteckers verfügt über eine vollständig diskrete Class-A JFET-Schaltung und ist dem Eingangstransformator vorgeschaltet, sodass das DI-Signal vom Klangcharakter des 73er-Sounds profitiert. Besondere Sorgfalt wurde auf die Spannungsversorgung gelegt. Eine integrierte +24 V Spannungsregelung mit Einschaltverzögerung sorgt für einen von anderen Steckplätzen unabhängig Betrieb und wirkt sich positiv auf die gesamte Spannungsversorgung des 500er Gehäuses aus. Echte Heritage-Qualität Bei der Umsetzung eines 73er Vorverstärkers an die 500er-Serie werden normalerweise einige Anpassungen nötig. Beim 73JR II ist es gelungen die gesamte Schaltung mit 3 Verstärkungsstufen für bis zu 80 dB Verstärkung mit einem Rauschen von -125dBu EIN in allen Verstärkungspositionen ohne Kompromisse umzusetzen. Das integrierte echte 24 V Netzteil sorgt für identische Leistung und Verzerrungspunkte.Die verwendeten Transformatoren sind maßgefertigte Carnhill-Transformator aus den Fabriken in St. Ives (Ausgang) und Oxford (Eingang). Sie haben einen großen Anteil am speziellen Klang dieses Vorverstärkers und kommen ebenfalls in den gossen Modulen der 80er-Serie zum Einsatz.Eigenschaften High-End-Mikrofon/DI-Vorverstärker im 73-er Stil mit 3 Verstärkerstufen 80 dB Verstärkung mit britischem Klang Diskret aufgebaute Class-A Schaltung Integriertes +24 V Spannungsversorgung mit Einschaltverzögerung zur Entlastung des Rack-Netzteils Maßgefertigter Carnhill-Ausgangstransformator, hergestellt in der Fabrik in St. Ives Maßgefertiger Carnhill-Eingangstransformator, hergestellt in Fabrik in Oxford Automatisch umschaltender DI-Eingang in diskretem Class-A Schaltungsdesign mit J-FET Eingangsstufe und extrem hoher Impedanz für mehr Farbe und Wärme bei der Aufnahme von Instrumenten Linieneingabe für Reamping Regler für Gain, Ausgangspegel, LO-Z, PAD, Line, 48 V, Phase, Hi-Pass und Hi-Pass-Frequenz Kompatibel mit der 500er Serie Technische Daten Hochpassfilter: 20 bis 220 Hz, durchstimmbar Impedanz Mikrofoneingang: HI, min. 1.200 Ohm, LO, min. 300 Ohm, trafosymmetriert Impedanz Line-Eingang: 10 kOhm gebrückt, trafosymmetriert Impedanz DI-Eingang: > 2 Megaohm, unsymmetrisch Ausgangsimpedanz: < 75 Ohm, trafosymmetriert Ausgangspegel (max.): > +26 dBm an 600 Ohm Klirrfaktor: < 0,025% bei 1 kHz, < 0,05% bei 100 Hz Frequenzgang: 20 Hz (+0,3 dB) bis 20 kHz (-0,2 dB). Verstärkung (max.): > 80 dB (Mikrofon), 50 dB (Line) Rauschen: -125dBu EIN Leistungsaufnahme: 88 mA pro Schiene / +-16 VDC Abmessungen (B x T x H): 3,81 x 17,5 x 13,5 cm, 1 Einschub  500er Serie Gewicht: 0,6 kg

Heritage Audio LANG 312L 500er Serie NY Style Preamp / DI Der LANG 312L ist ein 500er Serie Preamp im New York Style mit bis zu 90 dB Verstärkung. Dies ermöglicht die Verwendung mit einer Vielzahl an Mikrofonen, ohne dass ein externer Booster erforderlich ist. Sein minimales internes Rauschen und seine hohe Impulstreue ermöglichen einen beispiellosen Dynamikumfang. Der niedrige Ausgangspegel von Bändchen- und Vintage-Mikrofonen kann mit dem schaltbaren 25-dB-Lifter problemlos auf Rundfunk- und Studiopegel angehoben werden, ohne dass zusätzliches Rauschen entsteht. Dies ermöglicht eine Verstärkung des puren Klangs und gestattet, Signale mit einem zusätzlichen Hauch des 70er NY-Sounds anzureichern. Der LANG 312L liefert ein fettes, solides und professionelles Signal, dank des speziell entwickelten HA-880 OP-Amps und der symmetrischen LANG Eingangs- und CineMag Ausgangsübertrager. Neben dem Mikrofoneingang des 500er Modulrahmens steht über einen XLR/TS-Combo-Eingang an der Frontseite ein DI-Eingang zum Anschluss von Gitarren und Bässe zur Verfügung.  Eigenschaften 500er Serie NY Style Preamp Superschnelle Transienten Der legendäre NY-Style-Preamp für Schlagzeug und Gitarren +15 dB bis zu +90 dB Gain +25 dB-Lifter für optimale Anpassung an Bändchen- und dynamische Mikrofone Extrem niedriges Grundrauschen EIN -130 dBu Speziell entwickelte HA-880 Op-Amp CINEMAG-Ausgangsübertrager (USA) 2622 LANG Eingangsübertrager, entwickelt von Heritage Audio 48V Phantom-Power, Pad und Phase-Schalter Praktische XLR/TS-Combobuchse auf der Frontseite für Hi-Z DI (Klinke) und Mikrofon (XLR) 1x 500er-Slot Klassische 70er Jahre NY-Sound Technische Daten Eingangsimpedanz: 10 k Ohm, trafosymmetrisch und isoliert DI Eingangsimpedanz: > 2 M Ohm, unsymmetrisch Ausgangsimpedanz: < 75 Ohm, trafosymmetrisch Ausgangspegel (max): > +26dBm bei 600 Ohm THD: < 0,025% bei 1kHz, < 0,05% bei 100Hz Frequenzgang: 20Hz (+0,3dB) bis 20kHz (-0,2dB) Verstärkung (max): 90 dB. Rauschen: -130dBu EIN Pad: -20 dB Phantomspannung: 48 V Stromaufnahme: < 86 mA pro Schiene @ +/- 16 V DC Abmessungen (B x H x T): 38 mm x 135 mm x 150 mm, 1x 500er Serie Slot

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 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 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   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 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.