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.

AMS Neve 1073 LBEQ The first choice of countless leading producers and artists, the 1073® delivers the unique Neve® sound featured on many of the most famous recordings of the past 40 years. The big, punchy sound of the 1073® classic complements any musical genre – from rock to pop, hip hop to rap, thrash to classical. And now the EQ section of that classic unit is available for your 500 series rack. Crafted in England by Neve® engineers, the 1073® LBEQ mono EQ module retains the unique sonic characteristics of the original 1073® classic EQ by using the same EQ circuit architecture and matching components. And it delivers it in a modern and portable form-factor that professional producers and engineers demand. With new features like a signal presence LED and Neve’s cleverAudio Processing Insert design, the 1073®LBEQ takes your 500 series rack to the next level. Simply install into an empty slot in your compatible 500 series rack, connect your line level signals and inject the legendary Neve® EQ sound into your audio creations. And it’s the perfect pairing for the incredible 1073®LB microphone preamp module. The 1073®LBEQ module can be inserted between the input and output stages of the 1073®LB module, creating a true 1073® classic audio path. Legendary 3-band EQ design Rotary controls provide accurate adjustment of the 1073 3-band EQ and High Pass filter Signal presence LED illuminates green from a level of -25dB and red from a level of +24dB Switch for EQ IN/OUT function, with LED indication Electronically balanced circuits used in Line Input and Line Output stages for standalone module use Audio Processing Insert design allows the audio to/from the 1073LBEQ module to be inserted into the audio path of an existing 1073LB module (modules must be fitted in the same 500-series rack) Compatible 500-series rack/enclosure with Power Supply and line-level input/output connectors required, not supplied.

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.

AMS Neve RMX16-500 The AMS RMX16 was the world’s first microprocessor-controlled, full-bandwidth digital reverberator and characterized enormous numbers of seminal recordings from the 1980s onwards. It has remained an essential piece for any self-respecting studio ever since, and units sell today for a substantial proportion of their original cost due to great desirability. Designed from the outset to be musical rather than simply implementing mathematical algorithms, each program was tuned and re-tuned to provide as wide a “sweet-spot” of settings as possible by means of “carpet graph” parameter tables, interactively linked control by control. It was designed by ear over an extended period of time and from first principles and this is what has made it a classic. Despite its longevity, there is little more any present-day design could better and its sound is unique and instantly recognisable.Now available in a 500 series format, the sound once available only to premier studios is now on tap for a much wider user base. In addition to the 9 standard programs, there are 9 aftermarket programs available to RMX16 users via the unique and now elusive remote control. These 9 extra programs are included in the AMS RMX 16 500 Series Digital Reverb Module. High-performance 32-bit DSP processing and 24-bit, 48KHz sampling with premium A/D and D/A converters. Over 100dB dynamic range with +22dBu of headroom. Adjustable input and output levels for optimum signal to noise performance. Low power consumption (and therefore cool running). Independent control of each program’s fundamental reverberant parameters. Nudge Buttons to increment or decrement data for all selectable reverberation functions. Alphanumeric program descriptions for ease of use when storing or recalling information for the unit’s memory. New rotary push encoder enabling all parameters and settings to be adjusted by ear. New wet/dry mix blend function. New save/recall feature with 100 user-defined memory slots. Compatible 500-series rack/enclosure with Power Supply and line-level input/output connectors required, not supplied.

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 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

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

Black Lion Audio Bluey-500 Black Lion Audio stellt den populären Bluey FET-Kompressor als 500er-Einheit vor. Das kompakte Modul verfügt über alle Funktionen der 19-Zoll-Hardware und macht damit den charakterstarken Klang des Bluey auch im mobilen Lunchbox-Format verfügbar. Auf der Basis des legendären Blue-Stripe-Kompressors, der für Chris Lord-Alge modifiziert wurde, ermöglicht der Bluey 500 effektive Dynamikkontrolle inklusive Mix-Regler. Gleichzeitig liefert er die beliebte Klangfärbung, die Lord-Alge vor allem für Vocals gerne einsetzt, einschließlich des berühmten All-Buttons-Mode für eine besonders intensive Verdichtung des Signals.Funktionen: Der beliebte Black Lion Audio Bluey im 500er Format Auf der Basis einer der Studiolegenden schlechthin Inkl. des berühmten „All-Button-Mode“ Nachbau Chris Lord Alges’s Golden Unit fürs Vocal-Recording 2 Cinemag Transformer Nachbau des original UTC Eingangs-Transformers Nachbau des original Reichenbach Ausgangs-Transformers Dry/Wet-Regler Stereo-Link möglich Lineare Stromversorgung Präzise Kalibrierung Attack stufenlos regelbar von 20uS bis 800uS Release stufenlos regelbar von 50mS to 1200mS Ratio schaltbar 4:1, 8:1, 12:1, 20:1 sowie jede Kombination Handgetestet in den USA Gewicht: 7,17 kg Maße (L x B x H): 19,05 cm x 13,97 cm x 7,62 cm

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 Little Devil Compressor Der Chandler Limited Little Devil Compressor kombiniert die besten hauseigenen Entwicklungen mit den besten Designs vergangener Zeiten. Die Schaltung des FET-Kompressors orientiert sich hierbei an den legendären 2264 Kompressoren und dem Kompressor aus der Germanium Serie. Der Verlauf der Regelkurve kann zwischen Germanium- und Zener-Charakteristik umgeschaltet werden. Der Sidechain-Filter besitzt fünf umschaltbare Eckfrequenzen. Klanglich bietet das Gerät genau die Eigenschaften, für die Chandler Limited auf der ganzen Welt geschätzt wird: Cremig, warm und fein durchzeichnend im Hochtonbereich. Mit dem Little Devil Compressor mischt Chandler nun auch den Markt für Module im Format der 500er Serie auf. Nicht nur hinsichtlich Klang und Funktionalität stehen die Little Devil Geräte kompromisslos in der Tradition der Chandler Limited Entwicklungsphilosophie: Diskrete Schaltungstechnik, Spulen, Transistoren, Spezialübertrager und amerikanische Handarbeit, die man gehört haben muss. Eigenschaften Kompressormodul für die 500er Serie FET-Kompressor mit Schaltung in Germanium/2264-Bauweise Zwei Kompressionskurven (Germanium und Zener) Sidechain-Filter Drei Ratio-Einstellungen Trafosymmetrierte Ein- und Ausgänge Technische Daten Anschlüsse: Messerleiste (500er Serie) Eingangsimpedanz: 10k Ohm Ausgangsimpedanz: 600 Ohm Ausgangspegel (max.): 28,8dB Sidechain-Filter: 30, 60, 90, 150, 300Hz 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 Little Devil Equalizer Der Chandler Limited Little Devil Equalizer kombiniert die besten hauseigenen Entwicklungen mit den besten Designs vergangener Zeiten. Der Chandler Limited Little Devil EQ orientiert sich an legendären britischen EQs wie dem 1081 oder dem 33115. Im Bassbereich und in den Höhen verstärken Shelving-EQs die Frequenzen bei 50/110Hz und 12kHz mit bis zu +-18dB. Hi-Mid und Lo-Mid besitzen jeweils eine umschaltbare Güte (Hi/Lo), sieben schaltbare Mittenfrequenzen mit frequenzbestimmenden Induktivitäten und +-18dB Verstärkung. Ein umschaltbarer Low Cut Filter mit den Einsatzfrequenzen 47, 82 und 150 Hz komplettiert die Schaltung. Mit dem Little Devil Compressor mischt Chandler nun auch den Markt für Module im Format der 500er Serie auf. Nicht nur hinsichtlich Klang und Funktionalität stehen die Little Devil Geräte kompromisslos in der Tradition der Chandler Limited Entwicklungsphilosophie: Diskrete Schaltungstechnik, Spulen, Transistoren, Spezialübertrager und amerikanische Handarbeit, die man gehört haben muss. Eigenschaften Equalizermodul für die 500er Serie 4-Band Mischpult-EQ, "englische" Schaltung der 1071/33115 Vintage-Konsolen Hoch/Tief Shelving-EQ Parametrischer Hi-Mid/Lo-Mid-EQ Low Cut Filter mit drei Frequenzen Trafosymmetrierte Ein- und Ausgänge Technische Daten Anschlüsse: Messerleiste (500er Serie) THD: 0,0065% Eingangsimpedanz: 10k Ohm Ausgangsimpedanz: 600 Ohm Ausgangspegel (max): 28,8dB Bass-Band: +/- 18dB, 50, 110 Hz Lo-Mid-Band: +/- 18dB, 820, 560, 470, 390, 330, 270, 220 Hz, 2x Q-settings Hi-Mid-Band: +/- 18dB, 8k2, 6k8, 5k6, 4k7, 3k3, 2k7, 1k2 Hz, 2x Q-settings Höhen-Band: +/- 18dB, 12kHz Abmessungen (B x H x T): 38,1 x 133,4 x 177,8 mm (1 Einschub im 500er Rack) Spannungsversorgung: Netzteil des 500er Racks

Chandler Limited Little Devil Pre Amp Der Little Devil Pre Amp ist der vielleicht beste Signalprozessor von Chandler. Dabei zeichnen ihn mehrere Eigenschaften aus. Die Class-A Vorverstärkerstufe klingt wie keine andere Chandler Vorverstärkerstufe. Sie bietet eine großes, offenes und lebhaftes Klangbild .Beinahe jeder Klangparameter kann verändert werden, darunter auch sowohl das Feedback als auch Bias des Verstärkers. Die Feedback-Steuerung führt zu einer deutlichen Verstärkung der Obertöne über den Regelbereich. Die Art der Übersteuerung und Verzerrung verändert sich ebenfalls und reicht von einer leichten Class-A Übersteuerung bis hin zu einer angenehmen sanften röhrenartigen Verzerrung. Der Klangcharakter reicht von stark färbend und angezerrt bis zu leicht färbend und direkt. Zu den weiteren Eigenschaften des Little Devil Pre Amp zählen eine wählbare Eingangsimpedanz (hoch/niedrig), ein trafosymmetrierter Line-Eingang zur Klangfärbung beim Mischen und Aufnehmen, ein Tiefpassfilter, ein Bright-Schalter und vieles mehr. Eigenschaften Vorverstärkermodul für die 500-Serie Diskret aufgebaute Class A Schaltung Trafosymmetrierte Ein- und Ausgänge Steuerung von Feedback/Bias Schaltbare Eingangsimpedanz (hoch/niedrig) DI-Eingang Schalter für Höhenanhebung (Bright) Technische Daten Anschlüsse: Messerleiste (500er Serie) Verstärkung (max): 66,5 dB THD: 0,007% Rauschabstand: 93dB Tiefpassfilter: 100Hz 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 TG 12345 MKIV EQ Der TG12345 MKIV EQ für die 500er Serie stammt aus derselben Baureihe wie der Chandler Limited TG Microphone Cassette und das Topmodell TG12345 Curve Bender und hat seine Wurzeln im Kanal-Equalizer der klassischen EMI TG12345 Aufnahmekonsolen der späten 1960er und frühen 1970er Jahren.  Die transistorbasierten Aufnahmekonsolen TG12345 von EMI hatten entscheidenden Einfluss auf den Klang des letzten Beatles-Albums „Abbey Road“, das deutlich kraftvoller klang als die früheren Werke der Band oder auch „Dark Side of The Moon“ von Pink Floyd.  Der TG12345 MKIV ist ein handgefertigter, vollständig diskret aufgebauter Mono-Equalizer, der einen Steckplatz in einem 500er Rack belegt. Er bietet Presence- und Bass-Bänder mit stufenlos einstellbarem Hub sowie einen Hardware-Bypass. Das Presence-Band ist zwischen acht Frequenzen und einer Off-Position umschaltbar. Die ersten sieben Frequenzen sind als Bell-Filter und das achte Band ist als Shelving-Filter bei 10 kHz ausgeführt. Das Bass-Band ist ebenfalls als Shelving-Filter ausgelegt und kann zwischen den Frequenzen 90 und 150 Hz umgeschaltet werden. Der harmonisch kräftige Grundcharakter des TG12345 MKIV EQ ist seidig weich und klingt genauso angenehm wie der Curve Bender.  In Verbindung mit dem Chandler TG Opto-Kompressor und dem TG2-500 Vorverstärker komplettiert der TG12345 MKIV EQ den Kanal der klassischen EMI TG-Konsole als Rack-Version für den Einbau in einem 500er Rahmen. Eigenschaften: EQ-Modul für die 500er Serie Curve Bender 2-Band-EQ: Reproduktion der Equalizer-Legende TG12345 Presence-EQ mit sieben Bell-Bänder und einem Shelving-Band sowie stufenlos regelbarem Hub (Cut/Boost) Zwischen 90 und 150 Hz umschaltbarer Shelving-EQ im Bass mit stufenlos regelbarem Hub Hardware-Bypass Autorisiertes „Official Equipment“ der EMI/Abbey Road Studios Handgefertigt in den USA Technische Spezifikationen: Anschlüsse: Multiport-Anschluss (500er Serie) Schaltung: diskret, Transistor Presence-Band: Off, parametrisch: 500 Hz, 800 Hz, 1,2 kHz, 1,8 kHz, 2,8 kHz, 4,2 kHz, 6,5 kHz, Shelving: 10 kHz Bass: 90, 150 Hz (Shelving) Cut/Boost: +/- 10 dB Spannungsversorgung: +16 V / 110 mA (max.), -16 V / 80 mA (max.) Abmessungen (B x H x T): 38 x 133 x 153 mm (1 Einschub in einem 500er Rack)