Effektgeräte

A-Designs ATTYLow-cost, high-quality passive stereo line-level control with convenient single-knob control.Don’t let its affordability fool you; the A-Designs Audio ATTY (rhymes with “Patty”) is a no-compromise, 100% passive, two-channel line-level attenuator offering transparent, unaffected sound quality. ATTY’s diminutive size (4-1/2” x 1-1/2” x 3”) makes it a highly versatile and convenient tool, suitable for use in a world-class studio. Or, it can be a cost-effective solution to the space-challenged bedroom studio needing high-quality monitor control (without the high price tag).The A-Designs Audio ATTY is simplicity itself. Its passive design allows it to be placed in any signal path with ease. Housed in a rugged metal case, it has two Neutrik XLR/TRS (1/4″) combo jacks and two balanced XLR outputs for quiet, noise-free operation. Stereo Level control is provided by a single knob, which adds to ATTY’s ease-of-use resume. With a single knob twist, you can control stereo monitors, or the outputs of a dual-channel preamp while recording a loud sound source. And if you find yourself in a situation, studio or stage, where feedback or other nasty-big, speaking-thumping sounds take you by surprise, you find ATTY’s Mute/panic button a godsend.Features:• 100% passive line attenuator• Does not color or negatively affect sound quality• Convenient, one-knob stereo level control• Transparent, noise-free level control for any line-level source• Desktop powered monitor control• Super handy Mute/Panic button prevents speaker-damaging thumps or feedback• Prevent digital overs caused by high-output preamps• Control output levels while maintaining high-gain input signal• Compact size fits easily in small spaces.Technical Specifications:• Two balanced Neutrik XLR/TRS combo jacks• Two balanced XLR outputs• Rugged metal casing• Dimemsions (W/H/D): 4-1/2” x 1-1/2″ x 3”• Weight: 0.7 lb.

A-Designs EM-EQ2 Dual Mono Pultec Style Equalizer  Features Dual mono, three-band band, Pultec-style EQ Faithfully preserves the EQ section design, controls, and musicality of the Pultec EQP-1 Eminently suited for tracking, mixing, or mastering Same frequency settings and inductors as original Pultec make it a must-have for capturing bottom end Fully balanced, noise-free performance and modern impedance specs Quick and easy studio integration Wima capacitors True hard bypass A-Designs proprietary, custom-wound tapped Inductor A-Designs proprietary nickel core output transformer Rugged 2U metal housing with custom-milled faceplate and control knobs Big jewel power indicator lamp with heavy duty Carling power toggle switch. Many engineers and musicians would love to own an original Pultec EQP-1 equalizer, but the simple truth of audio equipment is that - unlike violins and brandy - electronics don’t improve with age. Even if you can find one on the vintage market that’s in decent shape and fully functional, the exorbitant price tag can be somewhat preventative…and the maintenance a potential nightmare. The A-Designs Audio EM-EQ2 is the answer for those who want the stellar sound of a Pultec equalizer plus the added benefit of modern performance and reliability. The EM-EQ2 faithfully preserves the EQ section design, control layout, and wonderfully smooth musicality of the original Pultec. It also has the same frequency settings and inductors that made the Pultec a must-have for accurately capturing and shaping the sound spectrum, especially the bottom end. The high band is attenuated at 5k, 10k, 20kHz; bandwidth and boost can be varied mid to high band at 3k, 4k, 5k, 6k, 10k, 12k, 16kHz; and, of course, the low band can be boosted and/or attenuated at 20Hz, 30Hz, 60Hz, or 100Hz. Boost and attenuation can be adjusted from 0dB to ±10dB. Eminently suited for tracking, mixing, or mastering, the two-channel EM-EQ2 is housed in a rugged, metal 2U chassis. It shares the same custom-milled faceplate, brushed-aluminum control knobs, big jewel power indicator lamp, and heavy-duty Carling toggle switch as the A Designs Hammer (which compliments the EM-EQ2 perfectly). Additional features include a proprietary nickel-core Cinemag output transformer, Wima capacitors, and true hard bypass. Instead of using common off- the-shelf chokes, A-Designs Audio employs a Cinemag custom wound tapped inductor. Along with the classic EQ circuitry, layout, and exceptionally musical tone of the original Pultec, the EM-EQ2 offers fully balanced, noise-free performance and modern impedance specs, making it easy to integrate it into any environment.   Here’s the best part: with its dual-mono design, the EM-EQ2 gives you two Pultecs for a fraction of the price of one, making it easier than ever to add the Pultec magic to any project or professional recording studio or live rig.

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

Amazingly Easy to Use One of A-Designs most lauded sound sculpting creations is the HAMMER 2, a dual-mono, three- band equalizer that's most at home on the main mix outputs, but is also an outstanding tool for tracking. It's one of a very select few audio tools that enhances sound simply by running signal through it, thanks in part to an ingenious filtering system that passes musical 2nd order tube harmonics while eliminating unwanted noise - just the heating blanket your DAW needs. It's also ideal for adding "air" to vocals, carefully crafted punch to instruments or just the right texture to an overall mix; plus, a major benefit of its innovative design is the ability to push it as hard as you like - it's nearly impossible to make it sound bad. The HAMMER 2 couldn't be easier to use. Its overall frequency range covers 30Hz to 40kHz. Each channel features six detented rotary controls: three frequency selector knobs (Lo, Mid, Hi) which are stepped switches for easy recall, each with an accompanying gain knob providing continuously variable boost or cut of 12dB. Each band has a selectable center frequency, and overlaps with the other bands in such a way that makes for a seamless transition throughout the entire spectrum. Each channel also features individual toggle switches for EQ In/Out as well as Lo Cut (84Hz) and Hi Cut (8kHZ), filters that allow engineers to perform utilitarian EQ chores while still being able to bring the full power of The Hammer's three bands to bear. Mainly intended as a "broad stroke" equalizer, the HM2EQ's bandwidth (Q) is self-adjusting (floating), based on a combination of the amount of gain applied and the dynamics and frequency content of the program material. The Hammer's unique ability to have its Q "move with the music" is one the keys to its incredible musical performance, and is another reason why it's difficult to make the Hammer sound bad at any frequency or gain setting. Along with its innovative tube-harmonic filtering circuit, a pair of carefully selected 12AT7 tubes (offering the most consistent control of any tube) and a custom heavy duty toroidal power transformer add the final touches to the Hammer's signal path. Like its twin - the A-Designs "Nail" compressor - the Hammer features a black, custom-milled, brushed faceplate sporting custom-milled aluminum control knobs, a heavy-duty Carling toggle power switch, and a big blue jewel power indicator lamp- overall, a stunning combination of modern-retro looks that jump out of the rack. The Hammer is an inspired design whose sonic signature is far greater than the sum of its components. Perfectly happy in tracking applications or as an insert effect on individual channels, it is the ultimate full-range finishing device for sub-mixes and master outputs. After all, what audio toolbox would be complete without a Hammer?   Features: World-class, three-band, dual-mono tube/hybrid equalizer. Designed to sound highly musical for larger EQ functions typically found on expensive mastering. Smooth, super-fidelity EQ, suitable for very high-end applications. Beautiful-sounding broad EQ-shaping across several octaves with no adverse effect on tone. Clean and airy high end. Warmth, transparency, and quality sound. Detened boost and cut controls. Fixed frequency settings with highly musical overlapping bands and floating “Q”. Low-cut and high-cut filters and bypass. Transformer-less 12AT output tubes. Custom-milled aluminum knobs and faceplate with EQ in/out, low-cut, and high-cut toggle switches. Heavy-duty Carling power toggle switch.  

A-Designs HM2 Nail Dual Channel Compressor / Limiter Features Solid state/tube hybrid design combines high performance with rich sound Dual channel with switchable stereo link or dual mono modes Mix control lets you blend wet/dry signal for parallel compression Hard Threshold and Filter let you select amount of compression and frequency (to 250Hz) to prevent mix from being “dragged down” by LF energy Awarded “Mix Certified Hit” by Mix magazine Custom-milled aluminum knobs Custom-milled aluminum faceplate LED Indicators switchable to stereo Gain-reduction switch for meters 2U rackmount Balanced XLR outputs Carling toggle power switch Red jewel power indicator In/out switch The A-Designs NAIL is one of the most musical yet transparent compressors ever manufactured.  Housing hand selected tube circuitry and top-shelf components specifically chosen to best compliment and enrich the extended bandwidth of state of the art recording and mixing tools, the Nail is completely at home strapped across the main outs of hardware mixers or breathing analog warmth into DAW setups. While it has the ability to add character to any sound, it can also control dynamics very subtly in the background; and, unlike most compressors, the NAIL can be hit really hard without having the top end dragging down. Being able to switch from linked stereo to dual mono makes it a perfect tracking compressor as well; or, on a stereo mix, using dual mono with different settings on each side can have the effect of making the mix sound wider. The NAIL’s unique combination of Threshold, Hard Threshold, and Filter allow precise control over the amount of compression, the level at which it will engage, and the frequencies above which it will act.  There is no need for a Ratio control – it is continuously self-adjusting in response to program material.  With Hard Threshold disengaged, Threshold increases gain reduction (like an LA2A), the attack and release controls don’t do much, and the NAIL becomes a model of simplicity - set its threshold and gain, and let the NAIL work its magic.  For finer control, Hard Threshold opens up a world of compression-/envelope-shaping possibilities. Like the hard knee of a traditional compressor, Hard Threshold works in conjunction with the Filter - a variable HPF continuously tunable from 8Hz to 250Hz. Once the Hard Threshold is crossed, the NAIL will apply desired compression above the selected frequency and less to the frequencies below, preventing higher energy bass frequencies from triggering unwanted compression and ducking the entire mix. The Filter can also be used to enhance bottom end for bass-heavy music without throwing the mix’s entire frequency spectrum out of whack, as a multi- band compressor often does.   The HM2’s remaining continuously variable controls - Attack, Release, and Gain - function as expected; however, Attack and Release are dependent on the settings of the Hard Threshold and also respond dynamically to program material, making for a more flexible and musical performance than traditional “once size fits all” attack/release circuits.  Other toggleable functions include In/Out for quick A/B comparison; Stereo Link On/Off; and the ability to switch the NAIL’s LED dual metering ladder (chosen for it’s ultra fast response and the ability to see it clearly from across a dark-lit control room) from Gain Reduction to Level. Another one of the NAIL’s incredibly cool features is its Mix knob, which provides continuously variable control between direct (dry) and compressed signal, enabling you to apply parallel compression to a sub-mix without losing two aux send/return or mixer channels.  Having the capacity to easily reduce the amount of compression being applied without changing the settings or sound of the compressor is unbelievably useful – it’s a mystery why more compressors don’t have it.   As its name suggests - whether it’s transparently controlling dynamics while getting tracks into your DAW or hardware recorder, squashing sounds to give them more character, or putting the finishing touches on a final mix….the A-Designs HM2 Compressor Nails it!

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

Der AEA 1029 ist ein kristallklarer Stereo-VCA-Kompressor in einem Half-Rack-Gehäuse. Er wurde für die Kombination mit dem AEA- Vorverstärkern der TRP- und RPQ-Serie entwickelt und eignet sich perfekt für die Aufnahme und das Mischen von Stereomikrofonen.

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

Der RPQ503 ist die nächste Evolutionsstufe in AEAs bewährter Reihe von Vorverstärkern mit hoher Impedanz und hoher Verstärkung. Basierend auf dem Schaltungsdesign der dritten Generation unseres renommierten RPQ3 bringt der RPQ503 denselben vollen, natürlichen Klang in das 500-Series-Format. Er verfügt über eine leistungsstarke Kombination aus ultrarauscharmen, verzerrungsarmen Operationsverstärkern, extrem hoher Eingangsimpendanz von 68 kΩ und 85 dB sauberer Verstärkung – und liefert so außergewöhnliche Klarheit und Detailtreue.

Wie alle Produkte von AEA wird auch der TRP500 vollständig von Hand in Pasadena, Kalifornien gefertigt und aus sorgfältig ausgewählten, lokal bezogenen Komponenten hergestellt. Jede Einheit wird mit höchster Präzision montiert, um maximale Zuverlässigkeit und langfristige Performance sicherzustellen. AEA ist ein familiengeführtes Unternehmen mit einem kleinen Team erfahrener Techniker und Ingenieure, von denen viele selbst aktive Musiker sind. Diese enge Verbindung zur Musikpraxis prägt die Entwicklungsphilosophie des Unternehmens und spiegelt sich in der besonderen Klangqualität der Produkte wider. Durch den handgefertigten Produktionsprozess kann AEA eine strenge Qualitätskontrolle über sämtliche Fertigungsschritte hinweg gewährleisten. Jeder TRP500 wird individuell getestet, um konstante Leistung, geringstes Eigenrauschen und professionelle Klangtransparenz sicherzustellen. Die Kombination aus traditioneller Handwerkskunst und moderner Audiotechnik hat AEA weltweit einen hervorragenden Ruf im Bereich hochwertiger Bändchenmikrofone und Studioelektronik eingebracht. Der TRP500 verkörpert diese Unternehmensphilosophie und bietet professionelle Verarbeitungsqualität sowie präzise Audio-Performance in einem kompakten 500-Series-Format für moderne Studioanwendungen.

Der 1073DPX-D vereint zwei vollständige 1073-Kanalzüge mit einem leistungsstarken USB-/ADAT-Audio-Interface mit 10 Eingängen und 12 Ausgängen und integriert damit den legendären Klangcharakter des berühmten Mikrofonvorverstärkers nahtlos in moderne, DAW-basierte Produktionsumgebungen. In England entworfen und von Hand gefertigt, verfügt das Gerät über einen vollständig diskreten Class-A-Signalweg, transformatorgekoppelte Klangstufen, einen induktionsbasierten Equalizer sowie eine umfassende digitale Anbindung – alles untergebracht in einem robusten 2HE-19-Zoll-Rackgehäuse. Mit Unterstützung für Dual-Mono- und Stereo-Aufnahmen, digitales Re-Amping, Hardware-Insert-Routing, erweitertes Monitoring und skalierbare ADAT-Erweiterung ist der 1073DPX-D als zentrale Schaltstelle für professionelle Studios, Projektstudios und mobile Recording-Setups konzipiert.

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.

AMS NEVE 2254/R Mono Limiter/Compressor Entwickelt wurde dieser Kompressor im Jahr 1969 und wurde schnell zu einer Legende. Diskrete Class-A Schaltung, Transformer gekoppelte Eingangsstufe, innovatives Bridge-Driver Design, Side-Chain  und die Ausgangsstufe garantieren einen völlig eigenständigen Sound. Die Features des NEVE 2254/R im Überblick:klassischer Mono Limiter/ Kompressor der nach den Angaben der späten 60er Jahre gebaut wirdhandgefertigt in Burnleyoriginale NEVE 2254 diskrete Class A Schaltungmanuelle schnelle Attack-Zeit und transparent Level-Kontrolleunabhängige Ein-und Ausgänge für Limiter und KompressorBypass-SchalterGeräte können für Multikanalanwendungen miteinander verlinkt werdenkompatibel mit der NEVE Recall Software – verbinden sie den 2254/R über USB mit einem PC oder MAC 

AMS Neve 2264ALB mono limiter/compressor moduleOriginally designed in 1974, the Neve 2264A mono Limiter/Compressor unit quickly became a legend. Delivering similar facilities and performance as the earlier 2254 Limiter/Compressor type, it did so despite being packaged in a more compact form-factor. Discrete, Class A/B design and transformer-coupled circuits used in the input, innovative bridge-driver design, side-chain and output stages ensured a totally unique sound. The original 2264A units are still sought after, decades after production stopped, and they remain one of the milestone pieces of studio equipment.And now the 2264A unit is available for your LunchboxTM.Crafted in England by Neve engineers, the 2264ALB retains the original 2264A’s unique sonic characteristics by using the same architecture, matching components and original hand-wound transformers and adds new features: a Signal Presence indicator LED and a Slow Attack option. And it delivers it in a modern and portable form-factor which professional producers and engineers demand.Simply install into an empty slot in your compatible LunchboxTM rack, connect your line level signals and inject the legendary Neve dynamic sound into your audio creations. And it's the perfect pairing for the incredible Neve 1073LB microphone pre amp module. The 2264ALB module can be inserted between the input and output stages of the 1073LB module, creating an all-new Neve classic audio path.Classic... and Revolutionary.Highlights Classic mono Limiter/Compressor, available in a 500-series format Transformer-coupled circuits used in Input, Bridge-driver, Side-chain and Output stages Independent Limiter and Compressor IN/OUT selectors BYPASS switch connects input terminals directly to output terminals Slow Attack switch changes between classic 2264A attack settings and new Slow Attack setting for buss compression work Digital LED meter with approximate PPM ballistics indicates 0dB to 20dB of gain reduction Audio Processing Insert design allows the audio to/from the 2264ALB 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

The Neve 33609 Stereo Compressor offers comprehensive limiting and compression facilities for music recording, mastering, post production and broadcast applications. The combination of hand-wired transformers and gain reduction circuitry produces a sound quality which is often duplicated, yet seldom achieved by any other compressor / limiter. Coupled with the unit’s unparalleled ease of use, this inimitable sound quality has made the 33609 a worldwide studio standard for three decades. The hallmark 33609 compression sound is very smooth, and extreme settings may be used with the compression or limiting remaining relatively transparent. After several versions of this classic Neve compressor over the years, today's 33609 provides the best of both worlds: original Neve 33609 sound, with enhanced internal and external I/O switching compared to the original model. The 33609 also utilises a discrete output stage like the original model, for a slightly warmer sound that is preferred by many professionals over previous iterations. Multiple units can be easily linked for multi-channel operation. The 33609 features independent sidechains for the compressor and limiter sections, with similarly independent threshold, recovery and attack controls. The compressor features a selection of ratios from 1.5:1 to 6:1 and a gain make-up control that comes before the limiter. Overall gain reduction is indicated on a moving coil meter. Much like our classic 1073 and 1081 microphone preamplifiers, the 33609 Stereo Compressor is often cited as a "desert island" compressor - one which a healthy sampling of the world’s top engineers and producers would choose above all others. Features Classic Stereo Compressor / Limiter designed to exacting 1970’s specifications Made using hand-wired Neve transformers in Burnley, England Classic 2254 feedback compression circuitry Brick Wall Limiting Transparent level control Perfect for mixing, broadcast, and mastering applications Hard Limit feature for digital recording Limit in/out Compress in/out Discrete output stage for slightly warmer sound

Der 8051 ist ein analoger Kompressor mit 6 symmetrischen Audiokanälen, vervollständigt mit 2 Side Chains und Key Inputs. Es können, mit nur einem am Key Input anliegendem Signal, alle 6 Audiokanäle bearbeitet werden. Mit diesen Eigenschaften eignet er sich besonders für die Bearbeitung von DolbySurround 5.1 Anwendungen. Flexibles Side-Chain-Routing mit Verstärkung und Filterbearbeitung macht ihn zu einem starken Partner für den Bereich Mastering. Bei dem Einsatz des 8051 kann man den selben unverwechselbaren satten Neve-Sound erwarten, mit dem bereits der legendäre 33609 überzeugte. 6 symmetrische Eingänge idealer Surround Broadcast Kompressor Side Chain Control Regler Side Chain A/B bias Control High und Low Pass Filter legendärer NeveSound umfangreiche Steuerungsmöglichkeiten der Linkfunktionen Der Key Input und LFE Filter Input sind elektronisch symmetriert Alle anderen Eingänge sind mit Transformatoren symmetriert, 3.6kOhm Eingangsimpedanz Alle Ausgänge sind elektronisch symmetriert Transformatoren mit maximalen Pegel von, +26dBu bei 600Ohm. Equivalente Input Noise (20kHz band): THD+N (für 20dBu Input bei 1kHz): maximaler Ausgangspegel Level: >26dBu an 600 ohms Frequency Response +/0.5dB 20Hz to 20kHz

 8801 Producer Pack / Channel StripDer legendäre Sound der 88R Konsole im 19“ Format. Dieses Gerät verleiht jeder Produktion durch den berühmten warmen Neve Sound den letzten Schliff. Nach dem Mikrofonvorverstärker folgt ein Hi-Pass und Low Pass Filter, ein Vierband EQ, Kompressor, Gate, Dynamik Side Chain und ein Insert Send Return. Die Filter und/oder die EQ Sektion können in die Dynamik Sid Chain geschaltet werden um Settings zu erstellen, die man nur von den großen Konsolen kennt. Über einen USB Anschluss können die Einstellungen auf MAC und PC gespeichert werden um sie mit einer serienmäßigen Total Recall Automation jederzeit zu reproduzieren. Ein optionaler AD Konverter kann alle Standards bis 196kHz bedienen.

 8803 Dual Channel EQ (voraussichtlich lieferbar ab Nov.2006)Ein weitere Teil der exklusiven 88 Serie ist der 2-kanalige EQ 8803. Diese EQ-Schaltung basiert auf dem legendären Neve 8108, jedoch sind die Regelbereiche in der Frequenzbearbeitung und dem Q-Range erweitert worden. Nach den Symmetrisch Eingänge folgt die Trimfunktion mit+/- 20dB und zwei 12dB/Oktave Filter. Die Frequenzbereiche der Klangregelung erstreckt sich von 33Hz bis 440Hz, 120Hz bis 2kHz, 0.8kHz bis 9kHz und 1.5kHz bis 18kHz. Über einen USB Anschluss können die Einstellungen auf MAC und PC gespeichert werden um sie mit einer serienmäßigen Total Recall Automation jederzeit zu reproduzieren.Input trim +/-20dBHigh pass filter 25Hz bis 300Hz 12dB pro OktaveLow pass filter 3kHz bis 15kHz 12dB pro OktaveEQ High 1.5k bis 18kHz, schaltbar Shelving/Bell, schaltbar Hi QEQ MID High 0.8kHz bis 9kHz, Q range: 0.3 bis 7 stufenlos regelbarEQ MID Low 120Hz to 2kHz, Q range: 0.3 to 7 stufenlos regelbarEQ Low 33Hz to 440Hz, schaltbar Shelving/Bell, schaltbar HiEQ Bypass SchalterSignal und Clip LEDsUSB für Recall1HöheneinheitXLR-Klinke Kombi für dienIputs, +4dBu, -10dBVXLR und parallel Klinke Outputs  Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

Der Neve 88R LBC ist ein 500-Series Kompressor/Limiter, der die berühmte Dynamikbearbeitung der 88RS-Flaggschiffkonsole in ein kompaktes und kosteneffizientes Modul überführt. Entwickelt und gefertigt in England, liefert der 88R LBC den unverkennbaren Neve-Klang, die präzise Kontrolle und die professionelle Performance der weltweiten Referenz unter den Großformatkonsolen – perfekt für moderne Audio-Produktionen und Engineers, die höchste Qualität im 500er-Rack suchen.

Der Neve 88RS Konsolen-EQ ist das Ergebnis jahrzehntelanger Entwicklung von Equalizern für die Flaggschiff-Konsolen von Neve. Der 88RS EQ wird in vielen der weltweit führenden Studios eingesetzt und ist bekannt für seine musikalische Präzision, Flexibilität und Kontrolle. Er wurde entwickelt, um sowohl eine umfassende Klangformung als auch eine detaillierte Korrektur-Entzerrung zu ermöglichen, und ist nach wie vor ein Eckpfeiler der modernen professionellen Aufnahme- und Mischtechnik.

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.