API 1608 II Following the introduction of the 1608 in 2008, API delivered over 600 consoles and expanders to discerning audio professionals throughout the world. New for 2018 and based on the incredible success of the original, API proudly announces the 1608-II. Equipped with an updated feature set and debuting API's new cross-platform Final Touch Automation® system, the 1608-II continues API's rich legacy of crafting the world's highest-quality analog recording consoles. Adding valuable features for today's Engineers, Producers and Musicians, the 1608-II provides the powerful reliability and the incredible API sound that has characterized API products for nearly 50 years. 1608-II Features: 16, 32, or 48 Input Channel Frame sizes Each channel equipped with Mic Pre and Equalizer Accepts API 500 Series Equalizers 8 Multitrack Buses 8 Auxiliary Buses 1 Stereo Bus 4 Stereo Returns, 100mm faders (manual or automated) with Multitrack and Stereo Bus assign Full Center Section Control Surround 5.1 Center Section Monitoring Classic Analog Metering Global 0dB Fader Bypass Comprehensive Rear Panel IO Connectivity Standard fit 16x 548B Inputs with Mic/Line and Direct Output 12x 550A Equalizers 4x 560 Equalizers 8x Echo Returns 1x Complete Center Facilities Section 16x Manual Faders 1x Stereo Fader

API Audio 2448 Designed to the same standard of excellence as the 1608, Legacy AXS and Vision consoles, API proudly announces the debut of the new 2448 Recording Console. The 2448 offers a powerful and impressive feature set including Dual Inputs on each channel, Stereo Returns and optionally, API's new cross-platform Final Touch Automation® fader automation system. The 2448 expands API's powerful line of world-class analog recording consoles and continues API's nearly 50 year legacy of combining functionality and reliability with the unmistakable warmth of the API sound. 2448 Console Features: Available in 24, 32, and 40 Channel Frame sizes Each channel equipped with Mic Pre and Equalizer Accepts API 500 Series Equalizers Each Channel features Dual Inputs (small fader rotary pot, pan, solo, mute, safe and flip) 56 Channels available to the Mix Bus - in a 24 Channel Frame 8 Multitrack Buses 8 Auxiliary Buses 1 Stereo Bus 4 Stereo Returns, 100mm faders (manual or automated) with Multitrack and Stereo Bus assign Full Center Section Control Surround 5.1 Center Section Monitoring Classic Analog Metering Global 0dB Small Fader Bypass 529C Stereo Bus Compressor (optional) Comprehensive Rear Panel IO Connectivity

API 2500 + Stereo Bus Kompressor Das Konzept des API 2500+ entspricht in erster Linie dem eines Stereo Bus- bzw. Summenkompressors. Er läßt sich mit der Stereo Coupling- Funktion in 6 Stufen von 100% (Stereo) bis 0% dual Mono-Modus variieren. Das Side Chain Steuersignal kann mit einem Hoch- und Tiefpass Filter beeinflußt werden. Die "Old / New" Style Kompressions-Funktion macht diesen Kompressor flexibel und musikalisch. "Old" Style modifiziert den Side Chain Schaltkreis zu einer sogenannten "Feedback Type" Schaltung, die man beispielsweise auch in API 525, UREI-1176, EAR oder in Fairchild 660 Kompressoren vorfindet. "New" style ermöglicht -wie der Name dieser Funktion schon verrät- die Kompressions-Charakteristik vieler moderner VCA Kompressoren. Einzigartig ist die Verwendung der patentierten "Thrust"- Schaltung, die dem Bass ordentlich Punch verleiht. Diese Funktion läßt sich mit einem 2dB/per Octave Hochpass Filter abschwächen oder mit dem Bypass- Schalter ganz aus dem Signalweg entfernen. Die Ausgangsstufe des Kompressors verfügt über ein "Auto Gain Make Up" mit dem man Kompressionverhältnis und Threshold verändern kann, ohne dabei den Ausgangspegel zu beeinflussen. Auch diese Funktion kann mittels Bypass gänzlich deaktiviert werden, wenn man mit den konventionellen Ausgangspegel Reglern arbeiten möchte. Mit dem Output Trim werden Pegel-Unterschiede zwischen dem linken und dem rechten Ausgangssignal in einem Bereich von ± 2 dB ausgeglichen. Der Threshold umfaßt einen Bereich von -20 bis + 10dB. Die Attack Zeit bewegt sich zwischen 0,03 ms und 30 ms, die Release Zeit zwischen 50ms und 3 sec. Der API 2500 bietet außerdem noch anwählbare Hard-, Medium- und Soft Knee Kompression. Wie alle API Produkte ist auch der API 2500 Bus Compressor konsequent in diskreter Transistor Technik aufgebaut. Release Time: 50ms bis 3 sec Ratio: 0 bis 8 Stereo Mode: 100% Stereo bis 0% Old style (Feedback) Kompression: Wahlweise "Feedback Schaltung" wie Urei 1176 oder Fairchild 660 Blend-Funktion

API 312 Mic Pre The 312 is one of API’s most sought after and famous mic preamps. First introduced in the 1970s, it is well known and respected throughout the recording industry, and is the building block of the modern 3124 rack unit. Based on API co-founder Saul Walker’s original designs, the API 312 Mic Pre combines our 2520 op-amps and proprietary transformers. It delivers the analog warmth, massive headroom and unmistakable sound for which API is known, in a convenient 500 series format. Following the success of the hand wired 312 50th Anniversary Edition, this standard production version offers the classic API sound at an affordable price. Like all API products, the 312 is backed by API's unique five year warranty. 312 Mic Preamp Features: API's Classic 312 Microphone Preamp in a 500 Series Vintage Style Analog VU Meter Maximum 69dB of gain Traditional API fully discrete circuit design with 2520 Op Amp Proprietary AP2516 Input Transformer 20 dB pad switch 3:1 Output Transformer Tap Selection Switchable 48V phantom power Peak LED API’s Five Year Warranty

API 3122V The new 3122V provides 2 channels of API's signature analog sound and features the same legendary circuit design found in the 3124V and 3124MV, as well as the 312, 512V, and 512c mic preamps. In addition to the familiar combination of 2520 Op Amps and proprietary output transformers that give all API mic preamps that punch and massive headroom, the 3122V also includes front and rear panel XLR and 1/4" inputs (conveniently selectable on the faceplate), a fixed-frequency HP filter, GAIN and the popular Variable Output Level control, as well as 48V, POL, and PAD. Rounding out the expansive feature set are the 3:1 Output Transformer Tap and 2 stunning analog VU meters with a separate peak LED. Features  2 Channels of Classic API Circuit Design API 2520 and Output Transformer Proprietary AP2516 Input Transformer Variable Output Control Fixed Frequency High Pass filter Vintage Style Analog VU Meters 3:1 Output Transformer Tap Selection Two Switchable front or rear XLR Input Front panel 1/4" Hi Z Instrument Input Front panel mic/instrument selection switch Front panel polarity switch Front panel 48V power switch Front panel -20dB pad switch Peak LED Maximum 68dB of gain

API 3124V APIs 4-Kanal-Preamp mit Outputregler Like the API 3124+, the 3124V is a high quality, compact, 4-channel mic preamp. It is equipped with the RE-115 K mic input transformer and the proprietary output transformer found in all API mic pres and throughout the API product line. Additionally, the 3124V offers Variable Output Level Control and switchable 3:1 output transformer selection. The unit has an internal 48-volt phantom power supply, which is switchable for each channel, as well as -20dB pad switches that affect both the mic and Hi-Z instrument inputs, both located on the front panel. The 3124V also features up to 65dB of gain. Additionally, the Hi-Z front panel inputs feed directly to the op amps, which allow a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. These Hi-Z inputs can take levels as high as +20dBu, making them perfect for keyboards and other high level devices. The mic preamp outputs are on rear panel male XLR connectors. Features Classic API Circuit Design Uses API 2520 Op Amps Variable Output Level Control 3:1 Output Transformer Tap Selection Four female XLR mic inputs Four front panel 1/4" Hi Z instrument inputs Front panel polarity switches Front panel -20dB pad switches Front panel mic/instrument switches Front panel 48V power switches

API 500-8P HC Lunchbox The 8-slot lunchbox includes all of the features that have made the 6-slot lunchbox (500-6B) so well regarded in the industry, including DB-25 (D-Sub) connectors for easy I/O, universal power supply (100 or 250V, 47 to 63Hz), phantom power, and easy rack-mounting with optional rack-ear kit. Built for robust performance, with new toggle switches for channel linking. The lunchbox gives an engineer the flexibility to bring along specialized EQ effects to any situation: 550A, 550b or 560. The lunchbox utilizes an external power supply. API makes several modules for the lunchbox, including the 512c Mic Preamplifier, the 525 Compressor, the 527 Compressor, the 550A 3-band EQ, the 550b 4-band EQ and the 560 Graphic EQ. Combinations of these modules make perfect stereo recording packages (two 512cs and two 550bs) or vocalist's box (one 512c, two EQs and one 527). Other uses for the versatile lunchbox include: Multi-track recording of acoustic and electronic audio sources Sound reinforcement systems and recording to multi-track formats Multiple facility projects where portability is a plus Broadcast and audio for video production Custom channel input strips NOTE: The older 560A equalizer may use pin 15 for a "direct output" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.

API 500VPR The API Model 500VPR is powered externally by a tri-polar power supply and is designed to accept API standard format 5.25" X 1.5" modules. The 500VPR is internally wired for PIN 2 hot, and comes with the API L200PS. The input/output jacks are both XLRs. The 500VPR can hold up to ten API modules. API makes several modules to fit this rack, including the 550A, 550b, 560, 525, and 512c. Like all API products, the 500VPR rack enjoys API's standard 5 year warranty. NOTE: Older API 560A series equalizers used pin 15 for a "direct output" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.

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.

API 525 Der API 525 ist ein sog. "Feedback type" Compressor, wie beispielsweise der 1176 und der 660, etc. Er verfügt über einen Eingangs- (Threshold) und Ausgangsregelung (make-up gain). Die "Ceiling"- Funktion modifiziert die Parameter Threshold und make-up gain, wodurch sich das Kompressionsverhältnis einstellen lässt, ohne dabei den Ausgangspegel zu verändern. Die Ansprechzeit beträgt 15µ sec. Mit zwei Tastenschaltern lässt sich der Kompressor (ratio 2:1) oder der Limiter (ratio 20:1) anwählen. Der API 525 verfügt über 4 Release- Zeiten. Zudem bietet der 525 eine De-ess Funktion. Originally released in the 70's, the API 525 is a "feedback" type compressor. An input (threshold) control and output (make-up gain) control are provided, along with an additional "Ceiling" fine-tune function which can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/pop reduction. The 525 design has been taken from the original blue prints and spec control drawings from the API archives. Release times vary with frequency, with high frequency / full bandwidth content released faster than lower frequencies for natural envelope tracking. Attack time is fixed, chosen to catch the fastest peaks, without "pumping". Equally useful as a tracking, mixdown or program compressor/limiter, the 525 utilizes "vintage" dynamics control and an easy to use multi-function control set. The 525 has a hard-wire bypass switch, a balanced input, and a pinout that is the same as all the other 500 series modules. Two or more 525s can be linked for multi-channel compression. The API 525 Compressor makes use of the 2510 and 2520 op-amps and exhibits the reliability, long life, and uniformity which are characteristic of all API products. Features Exact reissue of API's original 525 from the early 70's Peak detecting "feedback" compressor/limiter Variable Threshold and Output levels Unique "Ceiling" control combines key functions Analog VU meter for monitoring gain reduction 4 Switchable release modes De-Ess function Traditional API fully discrete circuit design Active Balanced Input/Output Hardwire bypass

API 525A Since the early 1970s and the subsequent re-issue over 20 years ago, the 525 Discrete Compressor has become one of the most trusted vintage-style compressors in the industry. Building on the powerful core circuitry of the original 525, the new 525A maintains the discrete audio path and expands the feature set for even more applications in the modern studio. It artfully combines API’s proprietary transformers, 2510 and 2520 opamps, retaining the sonic characteristics of the original while exhibiting the reliability, long life, and uniformity which is characteristic of all API products.   Features: NEW – Variable Attack adjustable from 15 microseconds to 15 milliseconds NEW – 7 selectable Release Modes (.05 to 2.0 Seconds) Unique Ceiling Control simultaneously combines Threshold and Make-up Gain Classic 1970s style analog gain reduction VU meter Traditional API discrete audio path circuit design Equipped with 2520 and 2510 opamps Proprietary API output transformer Balanced Input/Output Hardware Bypass

API 527A The API 527A takes it's place alongside the family of API VCA based compressors, the 225L and the 2500 Stereo Bus Compressor. Anyone familiar with those units will immediately be at home with the 527. Features common to the line like "feed forward" (NEW) and "feed back" (OLD) gain reduction methods selectable on the front panel, provide a choice of "that old way", or "the new way" of compression, for the highest level of flexibility in signal gain control. The "old way" or Feed-Back method is what most of the classic compressors used for the gain control circuit. The "new way" gain reduction is more typical of the newer VCA type compressors that rely on RMS detectors for the gain control voltage.   There is a "SOFT"/"HARD" switch for an "over-easy" type compression resulting in a very natural, uncompressed sound or a typical sharp knee type that lends itself to a much more severe limiting effect.   The Threshold control sets the initial operating parameter. The 527 can be operated with signal input levels from +10 dBu to -20 dBu.   The 527 features an Output fader control that ranges from minus infinity to +10dB, and output capability is +28 dBu through our 2520 discrete amplifier and a large API output transformer. The output level remains fairly constant regardless of the threshold or ratio control, much like the "more/less" Ceiling control on the API 525 compressor. This allows for live adjustments without any noticeable gain changes in the program level.   The patented THRUST function can be switched in and out via the front panel as well, applying a high pass filter before the RMS detector circuit that preserves that punchy bottom end.   Attack and Release are fully adjustable on the 527. Release time can be adjusted by rotating the inner concentric RELEASE knob. Release time constants: .3 sec to 3 sec. Attack time is adjusted on the outer concentric ATTACK knob, which ranges from 1 millisecond to 25 milliseconds.   The 527 is designed for individual channel use or, through the use of the LINK switch, two units can be combined for Stereo applications via a motherboard bus connection.   The 527 Compressor/Limiter makes use of the 2510 and 2520 Discrete Op-amps and exhibits the reliability, long life, and signature sound which are characteristic of API products.   Features Audio circuit uses the 2510 and 2520 Discrete Op Amps with transformer output Continuously variable detented Threshold control Continuously variable detented Attack and Release controls Continuously variable detented Ratio control Output Fader level control 10 segment VU/Gain Reduction meter with selector switch Overload LED "Link" switch for multiple unit interdependent compression linking "New"/"Old" switch for feed-forward or feed-back compression "Hard"/"Soft" compression curve knee switch Patented THRUST® switch for frequency dependent side chain control "IN" switch with hard relay bypass when in the "Out" position

API 529 Stereo Kompressor Klassischer 2-Slot Stereo Bus Kompressor im 500er Format The new 529 Stereo Compressor combines the unmistakable sound of API's compression technology with the convenience and popularity of the API 500 Series format. Carefully designed to deliver a wide range of compression options, the 529 delivers warmth, clarity and punch, whether used for subtle adjustments or heavy compression effects. Based on the unprecedented success of the 2500, the 529 takes many of the features and controls from API's famous stereo compressor and puts them into the first dual slot 500 series module from API. This stereo compressor features API's patented THRUST® circuitry for a punchy low end, along with an Old/New switch that lets you choose between classic and modern compression characteristics: Old for vintage-style feedback compression and New for today's more common feed-forward compression. The Auto-makeup Gain button lets you adjust ratio and threshold controls without affecting the output level. Using API's discrete op-amps and transformer technology, the 529 delivers the legendary analog sound of API. The 529 is backed by API's unique 5 year warranty. Features: Continuously variable detented Gain, Threshold, Attack, Ratio and Release controls 10 segment LED meters show Gain Reduction and selectable Input or Output Level Over Threshold LED Patented THRUST® Switch for frequency dependent side chain control 3 selectable compressor curve Knee settings Selectable New or Old switch for feed-forward or feed-back operation Selectable variable or auto compressor make-up gain Three way In/Out including full hard relay bypass Audio circuit uses 2520 and 2510 Discrete Op Amps with transformer output

API 5500 Dual Equalizer Die Linie der 5500 cicuit kann zurück auf den originalen 550 Equalizern, welche von Saul Walker, dem Gründer der Automated Processes Inc., entwickelt wurde. Der 550 war als Konsolenequalizer gestaltet welche, aufgrund der Architektur der Aufnahmekonsole, einen unbalancierten Eingang nutzt. Aufgrund der Ergonomie von Konsolen gilt das Gebot, dass die Steuerungen nur wenig Platz verbrauchen dürfen, manchmal kann die Anzahl der beinhalteten Funktionen beschränkt werden. Der 5500 richtet sich gerade diese Einschränkungen. Es hat einen balancierten Eingang, einen echten Straight-Wire Bypass, eine integrierte Stromspeisung mit störungslosem Muting und einem Bereich an Kontrollen, welche die Vielseitigkeit zu Masteringanwendungen erweitert. Wie alle API Produkte enthält der 5500 keine integrierten circuits in seinem Signalpfad. Der Gain kommt von zwei hangefertigten 2520 Operationsverstärkern in jedem Channel. Der balancierte Eingang ist durch einen 2510 discrete Operationsverstärker gesteuert, welche ähnlich dem 2520 ist, aber ohne dem hohen Current Ausgangsbereich. Der 2520 ist neben einer Schlüsselkomponente, gekoppelt mit dem API 2503 Ausgangstransformator, fähig, +30dBm zu liefern, bevor es getrennt wird. Mit dieser headroom (Bauhöhe??) ist es unwahrscheinlich, dass der 5500 zu distortion gefahren werden kann, es sei denn, dass eine andere API Einheit vielleich den Eingang fährt! Ein neues Feature des 5500 ist die Bereichssteuerung. Dieser Bereich der Amplitudensteuerungen kann auf ½ oder ihrer angegebenen scale reduziert werden, bei gleichzeitiger Bereitstellung an mitteln zur Justierung der Tonal Balance mit feinerer Auflösung. Dies ist besonders brauchbar für komplexes Programmaterial wie bei Stems oder Submixes und ist idealerweise fürs Mastering ausgelegt. Eine weitere Neuerung des 5500 ist eine echte Hard-Wire Bypass. In diesem Modus ist der Ausgangsverbinder direkt mit dem Eingang verbunden. Kurz nachdem das Gerät zum ersten Mal verwendet wird, oder kurz nachdem es ausgeschaltet wird ermöglicht eine spezielle Schaltung den Bypss Mode, sodass nie Signale verloren gehen oder Stromgeräusche nicht zu hören sind. Der Eingangs-XLR ist mit einem aktiv balancierten Circuit verbunden. Der Ausgangs-XLR wird von einem transformatorgekoppeltem Ausgang gesteuert und kann jede Load von 600 Ohm oder größer bis zur vollen Ausgabgefähigkeit, steuern. Die Polarität ist so, dass es keine Änderung vom Eingang zum Ausgang gibt, sodass es für Studios verwendbar ist, die entweder pin 2 oder pin 3 als „hot“-Verbindung verwenden. Zusätzlich gibt es einen ¼ zoll Eingangsverbinder welche jedes Signal unterbricht, das schon auf dem Eingang des XLR sein sollte. Es ist balanciert und kann entweder von balancierten oder unbalancierten Quellen benutzt werden. Ein positives Signal auf dem Tipp liefert einen positiven Signal auf dem pin 2 der XLR Ausgangs. Die Nutzung des ¼ zoll Eingangs überbrückt keine interne Circuitry und ändert nicht den Gain oder Operationslevel. Features: * Klassisches 550B Equalizer Design * 2 Range Switches Individually Alter Gain Steps * Nutzbar als ein 550B, 550D oder 550M * Peak/Shelf Schalter auf HI & Lo bands * Echter Hardwire Bypass * Balancierter IN und OUT auf XLR * Unbalancierter Eingang auf 1/4" * EQ In/Out Switch

API 550A Few equalizers enjoy the respect and admiration of the coveted API 550A. Designed by the now-legendary Saul Walker in the late '60s, the discrete 550A was first used as a modular OEM equalizer. As the industry rapidly embraced the sonic quality of the 550A, it quickly found its way into many custom console designs by Frank DeMedio and other leading engineers. Many of these consoles are still in use today. Forty years later, the 550A remains the standard against which other EQs are measured, and it has played a major role in the recording industry for decades. Still copied but never duplicated, the 550A became API's standard channel module EQ when the company began manufacturing consoles in 1971. With virtually all existing units spoken for, popular demand for this EQ resulted in API finally resuming production in 2004. The 550A provides reciprocal equalization at 21 points in 7 steps of boost to a maximum of 12dB of gain at each point. The fifteen equalization points are divided into three overlapping ranges. The high and low frequency ranges are individually selectable as either peaking or shelving, and a band-pass filter may be inserted independently of all other selected equalization settings. Frequency ranges and boost/cut are selected by three dual-concentric switches, and a pushbutton "in" switch allows the EQ to be silently introduced to the signal path. A small toggle switch is used to insert the band-pass filter into the 550A. The combination of Walker's incomparable 2520 op amp and his "Proportional Q" circuitry gives the 550A user an uncomplicated way to generate acoustically superior equalization. With the long-awaited reissue of this unit, an EQ that has had such a part in the history of recording is continuing to make history in today's music. Features 3 bands of classic API equalization Each band offers 7 API selected frequency centers Reciprocal and repeatable filtering Maximum 12 dB of boost/cut per band EQ Band 1 and 3 offer shelf/peak switching "Proportional Q" narrows filter Q at extremes Traditional API fully discrete circuit design High headroom +30 dB clip level

API 550B Der API 550EQ spielt nach wie vor eine wichtige Rolle in der amerikanischen Musikindustrie. Dieser Equalizer ist eine Fortsetztung des API 550 3-Band EQ´s, der 1967 erstmals präsentiert wurde. Der 550b verfügt über 4 Bänder je 7 ausgewählte Frequenzen, die sich um 12dB angeheben oder absenken lassen. Das LF und HF Band bieten eine shelf/peak- Anwahl. Ein wichtiges Merkmal, verantwortlich für minimalste Nebeneffekte ist der proportionale "Q". Based on API's original 550 from the late '60s, the API 550b is a continuation of the EQ that played a major role in the history of music recording, but with an additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 Op Amp), the 550b artfully blends the past with the present. So many hit records still depend on the unique 550 sound that engineers around the world find it to be an invaluable tool. In fact, the 550b design has been taken from the original blue prints and spec control drawings from the API archives. It is unlike any other EQ you will ever use. Rather than offer a huge assortment of complex features, the API 550b provides exactly the right number of controls. Its four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device with each band offering seven switchable filter frequencies that span four-to-five octaves. These frequencies, purposely selected to be musical rather than numeric, were selected by an experienced "who's who" list of the industry's most proficient engineers. Making use of API's "Proportional Q," an innovation designed by Saul Walker in the '60s, the 550b intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings without the need for additional bandwidth controls. This unique feature minimizes the "phase-shift" sound found in many equalizers. In addition, the reciprocal nature of the 550b enables the user to "undo" what has been done previously with exact precision. The benefits of the API 550b are most obvious to those who work with EQ on a continuous basis. If major tonal restructuring is required, the extraordinary headroom made possible with API's 2520 Op Amp offers the predictable and warm analog performance, even under duress. With a surprisingly wide range of tonal variations, the 500b is an invaluable and professional audio tool with great flexibility and excellent sonic ability. Features Four bands of our famous sounding equalization Each band offers seven API selected frequency centers Reciprocal and repeatable filtering 12 dB of boost/cut per band EQ band 1 and 4 offer shelf/peak switching "Proportional Q" narrows filter Q at extremes Traditional API fully discrete circuit design High headroom +30 dB clip level Re-issue of 1967 API 550 EQ with an extra band

API 560 10-Band API EQ im 500er Format mit +/- 12dB Boost/Cut und proportionalem Q API Mischpulte der 60er und 70er wurden mit 560 EQ- Modulen als Ergänzung für die Standart 550 Equalizer ausgestattet. Mit 10 Frequenzbänder im oktavabstand +/-12db cut/boost ist dieser EQ ein ideales Werkzeug für sweetening oder room tuning. Wie der 550b, so verfügt auch der 560b über proportionales "Q". Je mehr die Frequenzen angehoben oder abgesenkt werden, umso enger wird die Filter Güte. Originally conceived for use in API consoles of the '60s and '70s, the 560 is a unique device designed to accomplish tasks that no other EQ can. Extremely fast to set and reset using accurate zero detents, the curve shaping potential of the 560 remains unmatched. With a wide range of 500 mounting options, from racks to consoles, the 560 proves an invaluable asset to all critical performance applications. Based on API's original 560 EQ, the current production 560 has improved resolution in the ±4 dB area and possesses our exclusive circuitry and proprietary components, including the API 2520 Op Amp. The extraordinary headroom made possible with the 2520 offers consistent analog performance even when using radical EQ curves. Of course, the 2520's ability to drive low impedance loads is key when it is paired with API's custom output transformers. The results are quite audible with better low frequency reproduction and tighter imaging, which gives you that legendary API "punch in your gut" sound. The 10 precision EQ bands make the 560 ideal for signal sweetening and room tuning. A great companion to a parametric EQ, the 560 utilizes API's unique "Proportional Q" design introduced during the '60s. This design intuitively widens the filter bandwidth at lower boost/cut levels and narrows it at higher settings. Additionally, boost and cut characteristics are identical, allowing previous actions to be undone if desired. Reliable, durable and uniform, the API 560 EQ delivers that "one-of-a-kind API sound" with precision easy set filtering and high headroom in a compact package. If you want the sound of classic American music in an easy-to-set graphic EQ package, you want the API 560. Features: 10 bands of API proprietary equalization Familiar graphics operation on one octave centers 12 dB of boost/cut per band "Proportional Q" narrows filter Q at extremes Additional resolution within the ±4 region Center detent for reliable reset Silent bypass button Based on the original 1969 API 560 EQ

API ASM164 The API ASM164 is a 16-channel rackmount analogue summing mixer that delivers API’s renowned sonic performance and precision in a compact 19-inch rack format, complete with balanced DB-25 connectors, proprietary API 2510 and 2520 op-amps, insert send/return capabilities on every channel, dual stereo program buses (Mix-A and Mix-B), comprehensive rear-panel connections, and an external power supply. Uncompromising Analogue Summing in a Compact Format Designed for professional project studios, home setups, and production facilities, the ASM164 offers the legendary API sound in an efficient and cost-effective package. Drawing its design inspiration from the summing section of THE BOX® console, it caters to those who demand high-quality summing without the need for a full recording console. The device provides 16 analogue summing channels with balanced, line-level DB-25 connectors, ensuring seamless integration into modern studio environments. Each channel features continuously variable panning with a centre detent for precise stereo placement and a 31-step detented level control to maintain accurate adjustments. Enhanced Workflow and Versatility Every channel includes an insert send and return, enabling users to incorporate outboard gear into their workflow effortlessly. The global 0dB channel level control bypass further enhances flexibility, allowing users to manage gain staging and preserve the integrity of the original audio. Dual stereo program buses, Mix-A and Mix-B, provide routing versatility, with each channel assignable to either or both buses. Additionally, a balanced stereo external input can be assigned to Mix-A and/or Mix-B, expanding the mixer’s utility for complex setups. Precision Monitoring and Output Control The ASM164 ensures precise monitoring and control with four-segment LED level meters for each channel and analogue stereo output level VU meters. These features allow engineers to visualise signal levels at every stage, ensuring clarity and accuracy throughout the mixing process. Proprietary API 2520 op-amps and custom output transformers deliver the distinctive warmth and punch that define the API sound, while the external power supply enhances reliability and reduces noise. Built to Professional Standards API’s commitment to quality is evident in the ASM164’s robust construction and meticulous engineering. Comprehensive rear-panel connections provide balanced inputs and outputs, accommodating diverse studio setups. The unit is designed to withstand the rigours of professional use, backed by API’s five-year parts and one-year factory service warranty, ensuring long-term reliability and peace of mind.

API MC531 Monitor Controller API proudly introduces the new MC531 Monitor Controller. Featuring the same level of craftsmanship found throughout API’s entire product line, the MC531 offers a stand-alone version of the monitoring functionality built into the center section of API’s legendary analog consoles. Specifically designed to include fully-featured monitor control for DAW workflows, the MC531 can integrate seamlessly into any audio production environment where functionality, ease of use and an accurate reference of each audio source is required. “In our ongoing mission to provide audio professionals with products suited to their evolving workflow, the company decided that a monitor controller would be a natural next step in product design,” commented API’s Director of Engineering Todd Humora. “We’ve certainly had many requests for a unit like this over the years. The MC531 provides users with the exact same circuitry they would find in an API console, plus a few extra features that many people will find useful.” Drawing inspiration from the monitor control modules of all API consoles, the MC531 features a Main and two Alternate stereo outputs, the latter having individual trims for speaker level matching. Programmable subwoofer integration allows the user to link the Sub with the Main and/or either of the Alternate outputs. With a total of seven selectable stereo input sources (three analog line-level inputs, AES, USB, plus 3.5mm and Bluetooth), the MC531 can meet the monitoring needs of almost any studio setup. Two independent Headphone outputs and a built-in Talkback mic complement the feature set. Of course, the classic API 41-detent Control Room Knob is right at your fingertips. “API has always strived to engineer products that the audio community needs and wants,” said API President Larry Droppa. “In the case of the MC531, we’re offering a truly professional monitoring solution that’s equally at home in a commercial studio as it is in a smaller, personal creative space. Anyone familiar with an API console will immediately recognize the layout, functionality and the tradition that’s built into this incredible sounding monitor controller.”

API TCS-II Channel Strip Since its debut 14 years ago, The Channel Strip from API has proven itself to be a sonically superior and “must-have” addition for recording engineers around the world. The Original TCS was designed and built to give the user the best of API and as such featured a 512c Preamp, 527 Compressor, 550A EQ and a 325 line driver, all packed into a single rack unit.  With thousands of The Channel Strip in service, API announces the release of an updated version of the original unit, now called the TCS-II. Carefully retaining its hallmark circuit structure and unmistakable API sound, the new TCS-II Channel Strip offers the same outstanding performance but with a few notable upgrades:  - Update of the Compressor Section from the 527 to the newer 527A. - Update of the 512c Input Selection controls and the addition of peak LED metering. - Output level control knob now has a distinguishable pointer for reference. “The improvements were largely made to bring the TCS-II Channel Strip into conformity with the rest of our product line,” commented API’s Account Manager Mark Seman. “These updates really help round out the TCS- II and I’m convinced will only add to its continued success.” 

API THE BOX II Project Recording and Mixing Console API successfully debuted THE BOX Console over five years ago, and its highly desirable large console sound in a compact footprint has become a favorite choice of audio pros worldwide — from commercial production facilities to home studio operations. The newest version of the award-winning BOX Console provides even more options and flexibility for modern studio workflow. Offering a total of eight input channels and eight 500 Series slots, the updated BOX Console also features LED metering for each of its 24 summing channels. The new BOX Console provides the same comprehensive rear panel  connections, full center section and monitoring as its predecessor, as well as the 0dB bypass switch on each summing channel — a feature so popular it was included in the design of API's new 1608-II and 2448 consoles. THE BOX is API's small-format solution for any studio where space or budget is limited. Using the same circuitry and components as all other API consoles (including the Vision and Legacy AXS), THE BOX provides the signature analog sound and performance users have come to expect from API. Designed and optimized for the digital era, THE BOX handles all the functions needed for production not provided by most DAWs, including mic preamps, input signal processing, high-quality mix bus, cue sends with talkback, monitor control and more. Most importantly, THE BOX offers the legendary API sound in an efficient, cost-effective package.  Features Eight (8) input channels with Mic Preamp, Line Input and Hi Pass Filter Eight (8) 500 Series slots (1 per input channel) Direct Out on Input Channels On-Board Stereo Bus Compressor w/ ability to assign to program bus or input channels 1-4 Instrument Direct Inputs on channels 1-4 Sixteen (16) summing channels (24 channels during mix) 0dB bypass switch for each summing channel 4-Segment LED Metering on each summing channel Stereo program bus with master fader, insert, and external input One (1) stereo and (2) mono auxiliary sends/buses Stereo cue send/bus & headphone system PFL, AFL, and Solo-In-Place solo modes with stereo solo bus Full-featured monitor section that supports two stereo monitor systems Talkback system Comprehensive rear panel connections with balanced inputs and outputs Integrated power supply PLEASE NOTE: THERE ARE NO EQs INSTALLED IN THE STANDARD VERSION !