A-Designs new 500 Series EM-PEQ module sonically nods to the classic Pultec EQP-1A sound. The classic all-tube Pultec EQP-1A goes down on the record books as one of the most venerated equalizers of all time, cherished by recording and mastering engineers for its almost mythical ability to improve the sound of just about anything running through it. Finally, after much research and development, A-Designs Audio announces that it has managed to capture much of the essence of the famed EQ in a new product – and one that fits in a compact 500 Series module frame size, no less! Dubbed the EM-PEQ, A-Designs Audio was able to ‘shrink’ this highly sought after filter design into the now red-hot 500 Series format without compromise to either build quality or sonics. The EQ section design and control layout of the classic EQP-1A has been meticulously maintained, as well as its wonderfully smooth musicality. Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s popular solid-state Pacifica mic pre, putting a slightly unique twist on the classic design of yesteryear. Additional features include a nickel core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard bypass. Instead of using common off-the-shelf chokes, A-Designs uses a custom-wound tapped inductor wound to the original values. Fully balanced, noise-free operation with modern impedance specs make for dummy- proof operation and fast studio integration. The EM-PEQ requires 48v to operate. The new EM-PEQ is an approved API™ ‘VPR Alliance’ product and may also be used in Brent Averill Enterprises racks and A-Designs Audio’s 500 HR. With last year’s launches of the P-1 and EM-Series preamplifiers (EM-Red, EM-Blue, EM-Silver, and EM-Gold), A- Designs Audio is fast becoming a leader in all things 500 Series. The blend of classic sound and modern function offered by the new EM-PEQ is further proof of a company on the rise, putting quality and creative design above all else. WARNING: Do not 'Hot Plug' any 500 Series unit. You may damage the unit. Make sure your Phantom Power is off and your Power Supply is off BEFORE you install. Download Recall Sheet Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

500 SERIES MODULES AND HR-500 POWERED RACK500-Series compatible, application-specific microphone preamplifiers plus 500-Series Pultec-style EQThe A-Designs Audio 500 Series comprises the four 500 series-compatible preamps, including the P-1, EM-Blue, EM-Silver, EM-Gold, and EM-Red, each specially voiced with a specific task or sound in mind. Also a highly respected member of this exclusive family is the EM-PEQ, a Pultec-style equalizer designed to bring the sonic dessert to your lunchbox. These units are not only a perfect fit for an API “lunchbox” physically, they also meet the precise power rating requirements necessary to function perfectly from the moment you plug them in.* To further guarantee that your A-Designs 500 modules work out of the box, A-Designs is one of a very few manufacturers that make their own 500-Series powered rack: the A-Designs Audio 500HR.Custom transformers—the secret of A-Designs 500 series soundIn order to achieve the quality of sound that brings a smile to your ears, a profound understanding of electronic components and how their inherent qualities affect sound is essential. Transformers hold a singular position in circuit design due to their ability to affect timbral quality. Apart from the utilitarian task of electronic isolation for noise-free operation, the alloys used for the transformer’s winding along with the number of windings, will impart a distinct sonic quality. For example, nickel-wound transformers provide a more transparent sound with an airy high end, while steel can impart a thick “Neve-like” midrange or low-end “API growl.”To give each preamp in the A-Designs Audio EM-Series its own unique character, each has custom-wound transformers that employ proprietary A-Designs alloys that have been ear-tested to produce just the right sound for the right application. But that doesn’t mean that the EM-Series preamps are one-trick ponies—far from it. What it does mean is that decades of collective experience between A-Designs Audio and highly respected audio professionals who beta test A-Designs products have taken guesswork out of finding the right preamp for the job. Think of each of the EM series preamps as the ruler of a specific domain in the frequency spectrum. For example, the EM-Silver rules the lower frequencies thanks to its steel-wound transformer, making it a perfect choice for bass or kick drum, while the EM-Blue’s nickel transformer provides the clarity and highs needed to bring out the “crack” on snare drums.With various combinations of EM-Series modules you can create a lunchbox dedicated to recording drums, channel strips with Pultec-style EQ, or simply have a preamp for all seasons in one convenient location.Let A-Designs Audio’s EM-Series 500 modules be to be your guide to a world of color and sound that will inspire both you and your recordings. P-1The P-1 has the highest fidelity of all the A-Designs Audio 500 preamps, capturing the mojo of its older and larger sibling, the extremely popular Pacifica. While not an exact replica, it sounds as close to Pacifica as is possible for its smaller size. It has a big low end, slightly forward midrange, and extended highs. If you’re a fan of Quad Eight or API, you’ll love the A-Designs Audio P-1.The P-1 shines on vocals, instruments, room mics, piano, and on instruments with sharp transients, such as drums and various percussion instruments. And if you’re building a lunchbox with drum recording in mind, a pair of P-1s is a superb choice for overheads when you want to capture the entire kit along with the sizzle of the cymbals.EM-BlueEquipped with a nickel custom-wound output transformer for accentuated highs, the EM-Blue is the brightest sounding of the EM Series. It produces a much more airy, top-end-present tone than its EM-Series brothers and sisters.Many aspects of recording can be counter-intuitive, and in many cases, you’ll want to pair opposites. For example, when used with a dark-sounding microphone or an alto vocalist, the brighter EM-Blue can produce a heavenly sound. You will also find this pre useful for providing a crisp “crack” when recording a snare drum. And if you use the DI you just might fall in love with what an electric guitar sounds like going thru its nickel transformers. As with all of A-Designs’ 500-Series preamps, the EM-Blue has a -20dB pad that enables you to get down and dirty with an electric guitar. Just switch in the pad and crank the gain for a slight growl.EM-RedThe A-Designs Audio EM-Red is the “mid-forward” preamp of the EM family. Its sound derives from the combination of an A-Designs proprietary input transformer featuring a unique winding, and a 50/50 steel/nickel-wound output transformer (also a proprietary A-Designs alloy). The EM-Red has the extra kick you need when you have a mic that lacks present mids (such as the mid-scooped Chinese capsules), or if you want to bring an instrument forward in the mix.The upfront mids of the EM-Red make it ideal for drums, guitar, bass guitar, and acoustic instruments. In fact, you will find the EM-Red particularly useful when recording acoustic guitar with a condenser microphone. It’s also great for bringing out the resonance and character of rack toms and floor toms.EM-SilverThe A-Designs Audio EM-Silver has a darker tone than the P-1, EM-Red, and EM-Blue. Its sound is based on a custom-wound steel output transformer, which makes it an excellent match for ribbon microphones since steel transformers were widely used in the early days of recording and broadcast. It was the combination of steel transformer and ribbon mic that gave broadcasters and singers that “voice of god” sound that has defined vocal recording and the amplified spoken word for decades.The EM-Silver is a great preamp for bass guitar and keyboards. And in the world of percussion, it’s a great choice for kick drum. For brighter sound sources, the EM-Silver is the preamp of choice when you want less top end or a vintage-type sound. For a true vintage sound, use the EM-Silver with ribbon mics, or on modern, brighter condensers to smooth out top end. If you like vintage Neve, you’ll love the EM-Silver.EM-GoldThe EM-Gold’s combination of EM-Silver and EM-Red transformers make for the perfect sounding floor tom. It’s also the preamp you should reach for when you want that speaker-moving, low-mid thump from heavy guitars. The EM-Gold is ideal for fattening up thin-sounding sources; on mics lacking low mids or upper bass warmth; and mid transients, such as percussion and drums. It also shines on vocals, bass, and even drum machines. If you’re going to move air (the secret of a big sound), go for the Gold—the A-Designs Audio EM-Gold.EM-PEQ 500-Series Compatible EqualizerA 500-Series module that captures the essence of the classic Pultec EQP-1A soundOne of the most venerated equalizers of all time, the all-tube Pultec EQP-1A has been cherished by recording and mastering engineers for its almost magical ability to improve the sound of nearly any signal running through it. Now, after considerable research and development, the A-Designs Audio EM-PEQ has captured the essence of the highly revered Pultec EQP-1A and placed it in the compact and popular 500-Series form*—with no compromise in sonics or build quality.Along with modern performance enhancements, the A-Designs Audio EM-PEQ meticulously maintains the EQ-section design and control layout of the original Pultec EQP-1A, as well as its wonderfully smooth musicality. It also has the same frequency settings and inductors that made the Pultec a must-have for capturing the bottom end. Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s immensely popular solid-state Pacifica mic preamp—putting a slightly unique and modern twist on the classic design of yesteryear.The EM-PEQ’s controls attenuate high band at 5k, 10k, 20kHz; vary bandwidth AND boost mid to high band at 3k, 4k, 5k, 6k, 10k, 12k, 16kHz; and boost or attenuate the low band at 20Hz, 30Hz, 60Hz, or 100Hz. Boost and attenuation range from 0dB to ±10dB.Additional features of the EM-PEQ include a nickel-core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard-wired bypass. Plus, instead of using common off-the-shelf chokes, A-Designs uses a custom tapped inductor, wound to the original values as the original Pultec. Along with the classic EQ circuitry, layout, and exceptionally musical sound of the classic Pultec, the EM-PEQ offers fully balanced, noise-free performance and modern impedance specs for easy operation and fast studio integration.In the world of pro audio recording, there are two types of equalizers: those that you don’t want to hear in action (“surgical or corrective EQ), and those that you do (“color, or character” EQ). The EM-PEQ is one you most definitely do. Unlike any other 500-Series equalizer, the A-Designs EM-PEQ sits on the extreme end of the “character” bench. It focuses on “correcting” that which cannot be fixed by so-called surgical EQs: the enhancement of tone and musicality.The EM-PEQ is also available as the EM-EQ2, a 2-channel, 2U rackmount version offered at the same price as two EM-PEQs and a 500HR power rack. Whether you prefer to work with the 500-Series form factor or standard rackmount format, both the EM-PEQ and EM-EQ2 are identical in both sound quality and functionality.* The EM-PEQ is an approved API™ VPR Alliance product and may also be used in Brent Averill Enterprises racks, and the 2-bay A-Designs Audio’s 500 HR power supply/rack. The EM-PEQ requires 48V to operate. Please check your power rack for this feature before purchasing an EM-PEQ.EM-PEQ FEATURES:• The first and only Pultec-style equalizer in the 500-Series format• Three-band EQ with the same control layout as original Pultec• Fully balanced, noise-free performance and modern impedance specs• Same frequency settings and inductors as original Pultec make it a must-have for capturing bottom end• Excels at tracking, mixing and mastering—a truly magical EQ!• Perfectly compatible with API lunchbox (or A-Designs 500HR rack)• True hard-wired bypass • A-Designs proprietary-wound tapped Inductor• A-Designs proprietary nickel alloy output transformer• Quick and easy studio integration• Wima capacitors

500 SERIES MODULES AND HR-500 POWERED RACK500-Series compatible, application-specific microphone preamplifiers plus 500-Series Pultec-style EQThe A-Designs Audio 500 Series comprises the four 500 series-compatible preamps, including the P-1, EM-Blue, EM-Silver, EM-Gold, and EM-Red, each specially voiced with a specific task or sound in mind. Also a highly respected member of this exclusive family is the EM-PEQ, a Pultec-style equalizer designed to bring the sonic dessert to your lunchbox. These units are not only a perfect fit for an API “lunchbox” physically, they also meet the precise power rating requirements necessary to function perfectly from the moment you plug them in.* To further guarantee that your A-Designs 500 modules work out of the box, A-Designs is one of a very few manufacturers that make their own 500-Series powered rack: the A-Designs Audio 500HR.Custom transformers—the secret of A-Designs 500 series soundIn order to achieve the quality of sound that brings a smile to your ears, a profound understanding of electronic components and how their inherent qualities affect sound is essential. Transformers hold a singular position in circuit design due to their ability to affect timbral quality. Apart from the utilitarian task of electronic isolation for noise-free operation, the alloys used for the transformer’s winding along with the number of windings, will impart a distinct sonic quality. For example, nickel-wound transformers provide a more transparent sound with an airy high end, while steel can impart a thick “Neve-like” midrange or low-end “API growl.”To give each preamp in the A-Designs Audio EM-Series its own unique character, each has custom-wound transformers that employ proprietary A-Designs alloys that have been ear-tested to produce just the right sound for the right application. But that doesn’t mean that the EM-Series preamps are one-trick ponies—far from it. What it does mean is that decades of collective experience between A-Designs Audio and highly respected audio professionals who beta test A-Designs products have taken guesswork out of finding the right preamp for the job. Think of each of the EM series preamps as the ruler of a specific domain in the frequency spectrum. For example, the EM-Silver rules the lower frequencies thanks to its steel-wound transformer, making it a perfect choice for bass or kick drum, while the EM-Blue’s nickel transformer provides the clarity and highs needed to bring out the “crack” on snare drums.With various combinations of EM-Series modules you can create a lunchbox dedicated to recording drums, channel strips with Pultec-style EQ, or simply have a preamp for all seasons in one convenient location.Let A-Designs Audio’s EM-Series 500 modules be to be your guide to a world of color and sound that will inspire both you and your recordings. P-1The P-1 has the highest fidelity of all the A-Designs Audio 500 preamps, capturing the mojo of its older and larger sibling, the extremely popular Pacifica. While not an exact replica, it sounds as close to Pacifica as is possible for its smaller size. It has a big low end, slightly forward midrange, and extended highs. If you’re a fan of Quad Eight or API, you’ll love the A-Designs Audio P-1.The P-1 shines on vocals, instruments, room mics, piano, and on instruments with sharp transients, such as drums and various percussion instruments. And if you’re building a lunchbox with drum recording in mind, a pair of P-1s is a superb choice for overheads when you want to capture the entire kit along with the sizzle of the cymbals.EM-BlueEquipped with a nickel custom-wound output transformer for accentuated highs, the EM-Blue is the brightest sounding of the EM Series. It produces a much more airy, top-end-present tone than its EM-Series brothers and sisters.Many aspects of recording can be counter-intuitive, and in many cases, you’ll want to pair opposites. For example, when used with a dark-sounding microphone or an alto vocalist, the brighter EM-Blue can produce a heavenly sound. You will also find this pre useful for providing a crisp “crack” when recording a snare drum. And if you use the DI you just might fall in love with what an electric guitar sounds like going thru its nickel transformers. As with all of A-Designs’ 500-Series preamps, the EM-Blue has a -20dB pad that enables you to get down and dirty with an electric guitar. Just switch in the pad and crank the gain for a slight growl.EM-RedThe A-Designs Audio EM-Red is the “mid-forward” preamp of the EM family. Its sound derives from the combination of an A-Designs proprietary input transformer featuring a unique winding, and a 50/50 steel/nickel-wound output transformer (also a proprietary A-Designs alloy). The EM-Red has the extra kick you need when you have a mic that lacks present mids (such as the mid-scooped Chinese capsules), or if you want to bring an instrument forward in the mix.The upfront mids of the EM-Red make it ideal for drums, guitar, bass guitar, and acoustic instruments. In fact, you will find the EM-Red particularly useful when recording acoustic guitar with a condenser microphone. It’s also great for bringing out the resonance and character of rack toms and floor toms.EM-SilverThe A-Designs Audio EM-Silver has a darker tone than the P-1, EM-Red, and EM-Blue. Its sound is based on a custom-wound steel output transformer, which makes it an excellent match for ribbon microphones since steel transformers were widely used in the early days of recording and broadcast. It was the combination of steel transformer and ribbon mic that gave broadcasters and singers that “voice of god” sound that has defined vocal recording and the amplified spoken word for decades.The EM-Silver is a great preamp for bass guitar and keyboards. And in the world of percussion, it’s a great choice for kick drum. For brighter sound sources, the EM-Silver is the preamp of choice when you want less top end or a vintage-type sound. For a true vintage sound, use the EM-Silver with ribbon mics, or on modern, brighter condensers to smooth out top end. If you like vintage Neve, you’ll love the EM-Silver.EM-GoldThe EM-Gold’s combination of EM-Silver and EM-Red transformers make for the perfect sounding floor tom. It’s also the preamp you should reach for when you want that speaker-moving, low-mid thump from heavy guitars. The EM-Gold is ideal for fattening up thin-sounding sources; on mics lacking low mids or upper bass warmth; and mid transients, such as percussion and drums. It also shines on vocals, bass, and even drum machines. If you’re going to move air (the secret of a big sound), go for the Gold—the A-Designs Audio EM-Gold.EM-PEQ 500-Series Compatible EqualizerA 500-Series module that captures the essence of the classic Pultec EQP-1A soundOne of the most venerated equalizers of all time, the all-tube Pultec EQP-1A has been cherished by recording and mastering engineers for its almost magical ability to improve the sound of nearly any signal running through it. Now, after considerable research and development, the A-Designs Audio EM-PEQ has captured the essence of the highly revered Pultec EQP-1A and placed it in the compact and popular 500-Series form*—with no compromise in sonics or build quality.Along with modern performance enhancements, the A-Designs Audio EM-PEQ meticulously maintains the EQ-section design and control layout of the original Pultec EQP-1A, as well as its wonderfully smooth musicality. It also has the same frequency settings and inductors that made the Pultec a must-have for capturing the bottom end. Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s immensely popular solid-state Pacifica mic preamp—putting a slightly unique and modern twist on the classic design of yesteryear.The EM-PEQ’s controls attenuate high band at 5k, 10k, 20kHz; vary bandwidth AND boost mid to high band at 3k, 4k, 5k, 6k, 10k, 12k, 16kHz; and boost or attenuate the low band at 20Hz, 30Hz, 60Hz, or 100Hz. Boost and attenuation range from 0dB to ±10dB.Additional features of the EM-PEQ include a nickel-core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard-wired bypass. Plus, instead of using common off-the-shelf chokes, A-Designs uses a custom tapped inductor, wound to the original values as the original Pultec. Along with the classic EQ circuitry, layout, and exceptionally musical sound of the classic Pultec, the EM-PEQ offers fully balanced, noise-free performance and modern impedance specs for easy operation and fast studio integration.In the world of pro audio recording, there are two types of equalizers: those that you don’t want to hear in action (“surgical or corrective EQ), and those that you do (“color, or character” EQ). The EM-PEQ is one you most definitely do. Unlike any other 500-Series equalizer, the A-Designs EM-PEQ sits on the extreme end of the “character” bench. It focuses on “correcting” that which cannot be fixed by so-called surgical EQs: the enhancement of tone and musicality.The EM-PEQ is also available as the EM-EQ2, a 2-channel, 2U rackmount version offered at the same price as two EM-PEQs and a 500HR power rack. Whether you prefer to work with the 500-Series form factor or standard rackmount format, both the EM-PEQ and EM-EQ2 are identical in both sound quality and functionality.* The EM-PEQ is an approved API™ VPR Alliance product and may also be used in Brent Averill Enterprises racks, and the 2-bay A-Designs Audio’s 500 HR power supply/rack. The EM-PEQ requires 48V to operate. Please check your power rack for this feature before purchasing an EM-PEQ.EM-PEQ FEATURES:• The first and only Pultec-style equalizer in the 500-Series format• Three-band EQ with the same control layout as original Pultec• Fully balanced, noise-free performance and modern impedance specs• Same frequency settings and inductors as original Pultec make it a must-have for capturing bottom end• Excels at tracking, mixing and mastering—a truly magical EQ!• Perfectly compatible with API lunchbox (or A-Designs 500HR rack)• True hard-wired bypass • A-Designs proprietary-wound tapped Inductor• A-Designs proprietary nickel alloy output transformer• Quick and easy studio integration• Wima capacitors

Acme Audio Mfg. Co. is proud to introduce the OPTICOM XLA-500.   Taking inspiration from the acclaimed XLA-3, Acme Audio has painstakingly squeezed the XLA-3’s topology into a convenient two space 500 series module.  The XLA-500 is a tube optical audio limiter designed to produce a full range of non-linear, dynamic audio effects. The heart of the XLA-500 is a unique triple optoelectronic circuit that combines the best characteristics of three separate compression curves into a single unit. Combined with Cinemag input and output transformer and a class-A gain stage,  the result is a high-speed optical limiter with tones that range from ‘clean’ to ‘harmonically rich’ to ‘dirty’; and compression curves that range from subtle and slow to very fast and aggressive. The Opticom XLA-500 is the most versatile 500 series optical limiter on the market.  Whether trying to gently control dynamic range on vocals, adding weight to a bass track, or even crushing a drum track – the XLA-500 can perform all of these tasks effortlessly and with great satisfaction to the user, and, ultimately, to the listener.

AEA RPQ500 Module 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.   Link: Wes Dooley, founder of AEA, talks about Studio Mic Pre Standards in the 50's

Features: Single-channel, 500 series format 85dB of quiet, DC-coupled JFET gain Ultra-high impedance (100,000 Ohms) Switchable 115 Hz or 230 Hz high-pass filter Switchable phantom power and polarity reverse Like all AEA products, the TRP500 is 100 percent handcrafted in Pasadena, California from locally sourced parts. AEA is a family-owned company with a small crew of skilled technicians, many of whom are musicians themselves.

LunchboxTM... meet (another) Legend. Launched in 1970, the original Neve 1073 module is perhaps the world’s most famous and desirable microphone preamp and EQ for recording vocals and instruments of all types. 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 LunchboxTM.Crafted in England by Neve engineers, the 1073LBEQ 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 1073LBEQ takes your LunchboxTM to the next level. Simply install into an empty slot in your compatible LunchboxTM 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 Neve 1073LB microphone preamp module. The 1073LBEQ module can be inserted between the input and output stages of the 1073LB module, creating a true 1073 classic audio path. Revolutionary. Highlights 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 LunchboxTM) Fully screened module, packaged in Mu-metal case helps eliminate stray electromagnetic fields from LunchboxTM PSU or other module types   Achtung: Der Stromverbrauch dieser Module ist so groß, dass wir nur empfehlen, die Module in einer 6er API Lunchbox und den BAE Lunchboxen zu verwenden. Eine API VPR damit komplett zu bestücken schafft die PSU nicht. Leider funktionieren die Module im A-Designs 500HR auch nicht.  

Launched in 1970, the 1073 is the first choice of leading producers and artists, delivering the unique Neve sound on some of the most famous recordings of the past 40 years. The big, punchy sound of the 1073 complements any musical genre – from rock to pop, hip-hop to rap, thrash to classical. And now it is available for your LunchboxTM Designed and manufactured in England, the 1073LB 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 1073LB takes your LunchboxTM to the next level. Simply install into an empty slot in your compatible LunchboxTM rack, connect your microphone or line level signals and inject that legendary sound into your audio creations. Highlights Classic transformer microphone preamp amp (Class A design)  Neve designed hand-wound transformers  Both Mic and Line inputs are transformer balanced and earth free Gain knob with Signal Presence LED +5/-10dB 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 Neve modules in same LunchboxTM 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 Achtung: Der Stromverbrauch dieser Module ist so groß, dass wir nur empfehlen, die Module in einer 6er API Lunchbox und den BAE Lunchboxen zu verwenden. Eine API VPR damit komplett zu bestücken schafft die PSU nicht. Leider funktionieren die Module im A-Designs 500HR auch nicht.

The sound of greatness in the palm of your hand When the world’s top musicians, composers and engineers get together to record, it’s got to be Neve all the way. Not everyone has room for the world’s greatest recording console - the Neve 88RS – but now there’s no need to settle for anything other than the absolute best when it comes to capturing the beauty, energy and excitement of your recording… Introducing the Neve 88RLB - the same sound of greatness, but in the palm of your hand. The incredible sounding audio technology from Neve’s two-ton flagship 88RS console is now available to you in a 500-series format module. With extra features like the REGenerate function, a sweepable high-pass filter, intelligent phantom power control and a DI input, true Neve magic has never been more accessible or convenient. Neve - No Question.   True Neve 88RS mic preamp in a 500-series format, with transformer-coupled Mic input, electronically balanced Line and DI inputs and Line output REGeneration feature allows Line and DI inputs to be fed through the Mic input transformer to inject the legendary Neve sound Sweepable high pass filter can be switched in or out Intelligent 48v phantom power function -20dB pad and phase reversal features for Mic, Line & DI inputs Signal Presence LED illuminates green from a level of -25dB and red from a level of +26dB Front combi-XLR connector for Mic input (XLR) and Line & DI inputs (1/4” TRS jack - LIFT switch eliminates potential ground loops when using jack connectors in the front input

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. Features: An 18kHz bandwidth, allowing it to also be used as a high quality digital delay line. 90dB dynamic range and 0.03% distortion in delay mode. 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.

The Band Compressor was designed for fixing and enhancing by compressing and trimming a specific range of an instrumental or vocal track. It makes the track tonally more consistent and controls abberations in crucial frequency ranges.The Band Compressor is a sort of dynamic EQ that works only on a selected frequency band.The bands are:LOW - shelving response below about 120Hz. Perfects for bass, drum subgroup, vocals (it controls pops and proximity effect) and overall mix.L.MID - peaking 250-300Hz, the "hard", muddy low mids that usually are very demanding to be controlledLOWS&HIGHS - both lows and highs, the "contour" curve. To be used as an automatic "loudness" controlH.MID - about 3kHz peaking, the presence band. If excessive boost is applied it gives unwanted strident and harsh quality causing listening fatigue, compressing the band avoids the effectHI - shelving response from 5kHz up for brightness control. Good on everything, especially on vocals (it lets to combine HF boost with a de-esser in one process), guitars and drums overheads, as it allows to brighten the drums without cymbals all over the place.AIR - shelving response from 10kHz upward with a steeper slope. Designed for overall mix processing.Only the selected band is controlled (cut, boosted or compressed), the rest of the frequency spectrum is unchanged and remains intact.The direct path can be muted with the DRY CUT switch. It lets to listen the signal that is being processed and can be used for parallel processing as well.The band filters are passive apart from the L.MID filter and the filtered signal is compressed by a high quality FET compressor with ratio and attack/release times carefully selected for each band.If the compression knob is on 0 then no compression is taking place, the unit is working as a one band EQ with the range from -10dB to +12dB.In contrast to multiband compressors, the BC is very easy and intuitive to use and its minimal signal path topology yields less audio degradation.

The Amtec DST-5A is a clipper/distortion module designed to be used in API-500 compatible racks. It is a line level device capable of producing a broad spectrum of harmonics.Its versatility is greatly increased by a novel mixing stage, a choice of 4 different transfer curves and simple, but carefully fine-tuned EQ stages.It can be used at every stage of audio work on individual tracks, sub-mixes or full mixes. The DST-5A offers anything from subtle peak limiting (rounding off the transients and increasing loudness) and tone enhancing thatbrings out character of vocals, drums, guitars, synthesizers etc. to fully distorting the original tone.It can be used to simulate the saturation aspect of tape recording, to add crunch, grind and growl with a choice of warm or raspy distortion qualities.

The MIP-5A is a microphone preamp that is a 500 version of our old prototype micpre that worked like a charm.Transformer-balanced input and output, fully discrete class-A amplification. The topology is unique, no typical DOA.All controls are self-explanatory apart from maybe the OUTPUT PAD switch which reduces the output level by 6dB using the output transfomer (to help enjoy the MIP-5A's distortion) and the WOOL switch which changes the transfer function for certain parts of the frequency spectrum and makes the overload characteristics very smooth and gentle. The clipping distortion sounds quite dark. When the WOOL function is deactivated the overload is conventionally bright and buzzy.

Features API's Classic 312 Microphone Preamp in a 500 Series module 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