Preamps

A Designs Audio is proud to introduce the newest in its highly acclaimed series of All Tube Microphone Pre-amplifiers!The MP-2A is a true tube-in, tube-out stereo microphone pre-amplifier based on the celebrated MP-2 from A-Designs Audio.The new 'A' series has many modifications incorporated from the original MP Series. Some of the newer features include a -20dB Pad Switch, selectable tone switches, which allows you to create 4 different tones per channel. Also, the new output gain standard of the MP1-A and MP-2A Series is now 60 dB! Perfect for the new generation of Ribbon Microphones.Utilizing world class input transformers by CineMag and custom designed output transformers for the lowest noise level and highest quality sound, the MP-2A brings the warmth and richness of analog to your recordings while maintaining a crystal clear spectrum of sound. The MP-2 is a professional class preamp for use on a variety of sources, and includes rear panel instrument and front panel line level inputs.It delivers warmth, transparency, and a quality sound with a clean and airy high end like only a high quality all-tube pre-amp can.

A-Designs Pacifica Features Two-channel, solid state preamp with two front-panel Hi-Z inputs Captures the sound quality of the legendary Quad Eight Pacifica console with even more presence and high-end Very warm and full tone without being dark; wide bandwidth with a sweet top end Custom-wound Cinemag input and output transformers Input transformer: A-Designs proprietary input transformer with unique winding Output Transformer: A-Designs proprietary alloy using the same massive design as the original Quad Eight 72dB of quiet gain, great for use with ribbon mics Unique DI design sends signal through the input transformer for two transformers in the signal path Balanced XLR I/O Phase reversal (each channel) -20dB pad (each channel) +48V phantom power (each channel) Solid construction, handmade in the USA. The 1970s was a time of great change in pro audio. The introduction of solid-state electronics led to an explosion in development and a very different sound than the tube gear of previous decades. The recording console in a high-end 1970s studio was likely a Neve, an API, or a Quad Eight. These companies set the standards for audio quality – with a unique sound firmly imprinted on the popular recordings of the era. Designed, built, and extensively “ear-tested,” by long-time recording industry veterans, the A Designs Pacifica takes its sonic signature and name from the revered Quad Eight mixing console. However, the A-Designs Pacifica has a sound and character all its own. Praised by top professionals for having the depth of a Neve, the midrange of an API and the high-end of a Massenburg, the Pacifica has firmly established itself as the go-to preamp for an impressive list of Grammy-winning and platinum-selling engineers and producers. The streamlined feature set of the Pacifica delivers exactly what an audio professional needs to quickly record high-quality tracks. Paying homage to the color scheme of the Quad Eight Pacifica console, the hand-crafted A Designs Pacifica sports a rich, cream-colored finish with solid feeling red metal gain knobs, a red +48V phantom power push button with red LED indicator, and grey push buttons for phase reverse and –20dB pad - all giving the Pacifica a look reminiscent of California girls, beach boys, and classic Woodies. It also has two front-panel Hi-Z instrument inputs, but - just like a classic Woody - it’s what’s under the Pacifica’s hood that gives the Direct Inputs their distinctive sound. Unlike other preamps, Pacifica’s DIs are routed through the input transformer, passing signal through two transformers for added depth and richer tone….and these aren’t just any transformers! They’re custom-designed input and output transformers built by Tom Reichenbach of Cinemag (whose father Ed built the transformers for the original Quad Eight desks). The output transformers are custom wound and share the same design as those found in the original Quad Eight.  The input transformers, however, are pure, proprietary A-Designs. Another major component of Pacifica’s stellar sound is its extreme bandwidth, ranging from way down at 9Hz all the way up to 101kHz with  <1% distortion! Along with the custom transformers, the linear response down below 10Hz provides the big, punchy sound for which the Pacifica has become a contemporary classic. It also provides harmonic content well above the range of human hearing, reducing in-band phase shift for more realism, along with the added benefit of delivering more harmonic information to work with...turning your EQ into a creative tool rather than a corrective one. While some may believe the glory days of recording are over, Pacifica is living proof that they’ve never left us, and better days are still ahead! Put an A-Designs Audio Pacifica in your rack, and hear the difference.

A-Designs REDDI REDDI is a fire-engine red tube direct box with an unquestionable quality of sound. This is best foot forward in giving the audio world a truly remarkable product at an affordable price.The REDDI has been field tested and referred by recording engineers to be the "best tube DI ever made".With wider bandwidth and just the right amount of gain, the REDDI stands clear and clean above the competition.Great for Basses, Guitars, Synths and electronic instruments that require a direct box for recording, the REDDI is READY to give you unsurpassed sound for that perfect recording or live performance.A Designs believes REDDI will set the NEW Benchmark for tube direct boxes!

A-Designs REDDI-Refurbished REDDI is a fire-engine red tube direct box with an unquestionable quality of sound. This is best foot forward in giving the audio world a truly remarkable product at an affordable price.The REDDI has been field tested and referred by recording engineers to be the "best tube DI ever made".With wider bandwidth and just the right amount of gain, the REDDI stands clear and clean above the competition.Great for Basses, Guitars, Synths and electronic instruments that require a direct box for recording, the REDDI is READY to give you unsurpassed sound for that perfect recording or live performance.A Designs believes REDDI will set the NEW Benchmark for tube direct boxes!

The number of A-Designs REDDIs in use on stages and studios all over the world is nothing short of staggering. Quite simply, there is no better sounding way to convert an instrument, or line level signal, to XLR. The same tone and sound from the REDDI is now available in a dual mono 2RU rack mount version. Designed with the help of top studio engineers and bass players, REDDI-v2 has been widely praised by engineers and musicians all over the world as the best-sounding DI solution on the market today. It is important to note that the REDDI-v2 is not a high-gain device! Its gain structure has been painstakingly engineered to avoid the slightest compromise in sound quality. Inspired by the glorious sound of the Ampeg B-15 tube bass amp, the REDDI-v2 6N1-P tube-driven amplifier feeds signal directly into a hefty custom output transformer by Cinemag – a key component to providing a harmonically rich tone. The REDDI-v2's extremely wide frequency range (20Hz to 60kHz) prevents in-band phase shift, resulting in outstanding detail and realism. Another major benefit of its wide bandwidth is the prevention of LF phase shift by maintaining a linear response extending below the audible bass range, insuring a full, natural sound. The REDDI-v2's distinctive bright red steel chassis sports 2 front-panel Neutrik XLR/1/4” combo input jacks, 2 balanced XLR outputs, and 2 1/4” thru-puts, for sending signal to a bass amp – not only useful for live applications, but also for simultaneously recording direct and miked amp tracks in the studio. A 0-16dB-Level control and a Red LED power indicator complete the front panel controls. The back panel contains a heavy-duty toggle switch for ground lift, along with the IEC power outlet. The REDDI-v2 all-tube circuitry will enhance the character of any electrified instrument that runs through it -- not just bass -- but stereo keyboards, as well. Plug the pickup of an acoustic guitar through REDDI-v2 to add depth and fullness to its tone. Capture and improve all the richness and life of an electric piano or analog synthesizer. Warm up sterile sounding digital keyboards or drum machines by strapping a REDDI-v2 across their outputs – for stereo! The uses are endless.

The number of A-Designs REDDIs in use on stages and studios all over the world is nothing short of staggering. Quite simply, there is no better sounding way to convert an instrument, or line level signal, to XLR. The same tone and sound from the REDDI is now available in a dual mono 2RU rack mount version. Designed with the help of top studio engineers and bass players, REDDI-v2 has been widely praised by engineers and musicians all over the world as the best-sounding DI solution on the market today. It is important to note that the REDDI-v2 is not a high-gain device! Its gain structure has been painstakingly engineered to avoid the slightest compromise in sound quality. Inspired by the glorious sound of the Ampeg B-15 tube bass amp, the REDDI-v2 6N1-P tube-driven amplifier feeds signal directly into a hefty custom output transformer by Cinemag – a key component to providing a harmonically rich tone. The REDDI-v2's extremely wide frequency range (20Hz to 60kHz) prevents in-band phase shift, resulting in outstanding detail and realism. Another major benefit of its wide bandwidth is the prevention of LF phase shift by maintaining a linear response extending below the audible bass range, insuring a full, natural sound. The REDDI-v2's distinctive bright red steel chassis sports 2 front-panel Neutrik XLR/1/4” combo input jacks, 2 balanced XLR outputs, and 2 1/4” thru-puts, for sending signal to a bass amp – not only useful for live applications, but also for simultaneously recording direct and miked amp tracks in the studio. A 0-16dB-Level control and a Red LED power indicator complete the front panel controls. The back panel contains a heavy-duty toggle switch for ground lift, along with the IEC power outlet. The REDDI-v2 all-tube circuitry will enhance the character of any electrified instrument that runs through it -- not just bass -- but stereo keyboards, as well. Plug the pickup of an acoustic guitar through REDDI-v2 to add depth and fullness to its tone. Capture and improve all the richness and life of an electric piano or analog synthesizer. Warm up sterile sounding digital keyboards or drum machines by strapping a REDDI-v2 across their outputs – for stereo! The uses are endless.

ABACUS Preamp 14 – High-End Vorverstärker mit innovativer Signalaufbereitung Der Preamp 14 ist ein hochwertiger Stereo-Vorverstärker für anspruchsvolle HiFi- und Heimkino-Setups. Mit sechs analogen Stereo-Eingängen, flexiblen Anschlussmöglichkeiten und der bewährten lastunabhängigen ABACUS-Ausgangsschaltung sorgt er für eine unverfälschte und stabile Signalübertragung – auch über lange Kabelstrecken zu Aktivlautsprechern. Die Eingangsstufe bietet hohe Flexibilität: Zwei Eingänge unterstützen sowohl symmetrische als auch asymmetrische Signale, weitere Line-Eingänge stehen für klassische Quellen zur Verfügung. Zusätzlich verfügt der Preamp 14 serienmäßig über einen hochwertigen Phono-Vorverstärker für Magnettonabnehmer. Optional kann ein Aroio-Streamer-Modul integriert werden. Ein besonderes Highlight ist der AudioVero Cleaner. Diese innovative Funktion reduziert störende, unkorrelierte Signalanteile digitaler Quellen und verbessert so die räumliche Abbildung und Hörbarkeit von Details. Das Ergebnis ist eine präzisere Stereoabbildung und ein entspannteres Hörerlebnis. Dank Heimkino-Bypass lässt sich der Preamp 14 nahtlos in Mehrkanal-Systeme integrieren. Frontkanäle eines AV-Receivers können direkt eingebunden werden, während die hochwertige Signalverarbeitung für die Stereo-Wiedergabe erhalten bleibt.

Ein guter Vorverstärker sollte ein Signal nicht verändern. Dies ist oberstes Entwicklungsziel bei ABACUS. Dem entspricht bereits der "Mini-Pre" ABACUS Prepino RC. voll und ganz. Wie der "Große" 6-2RC, hat der Prepino 5 Line-Eingänge und 1 MM-Phono, Infrarotfernbedienung, Motorpoti (ALPS) und Linetreiberausgang, der jegliche Veränderung des Ausgangssignals, z.B. durch Kabel, verhindert. Features: 5 Stereo-Line-Eingänge, 1 MM-Phono Linetreiberausgang (siehe unten) – regelt Linekabeleigenschaften aus Mikroprozessorsteuerung mit separater Stromversorgung Umschaltung des Kanals jetzt auch auf der Front des Geräts möglich (Ch+/Ch-) Per Fernbedienung weiterhin direkte Anwahl der Kanäle möglich Vollmetall-IR-Fernbedienung mit großer Reichweite und hoher Batterielebensdauer Niedrige Standby-Leistungsaufnahme Kopfhörerausgang ohne klangliche Kompromisse Passend zur Ampino-Mini-Endstufe Geschalteter Kaltgeräteausgang ALPS-Präzisions-Motorpotentiometer Vollmetall-Eloxalgehäuse in silberfarben oder schwarz Blaue Betriebsanzeige-LED und LED-Display Lieferung im Schalenkoffer mit IR-Fernbedienung, Kaltegerätenetzkabel und Bedienungsanleitung Kaltgeräte-Kurzverbindung für den Anschluss eines Ampino als Zubehör erhältlich. Der ABACUS Prepino ist eine sehr kompakte Lösung, wenn es darum geht, mehrere Programmquellen per Fernbedienung umzuschalten und die Lautstärke einzustellen. Er bietet eine gute Kombination mit ABACUS Aktivboxen und im Zusammenspiel mit einem ABACUS Ampino eine solide Vor-/Endstufenkombination für unter 1.500 Euro. Bei Nutzung der rückseitigen Kaltgerätebuchse lassen sich andere Geräte per Netzschalter oder Fernbedienung des Prepino ein- und ausschalten.   Linetreiber-Ausgangsmodule Überall, wo bei ABACUS-Geräten ein Line-Signal (also ein Kleinleistungssignal) herauskommt, sind die ABACUS-eigenen Linetreiber-Module verbaut. Diese funktionieren genau wie die ABACUS-Leistungsverstärker (z. B. Dolifet), nur eben für kleine Leistung. Eingesetzt sind diese Module z. B. bei allen ABACUS Vorverstärkern, es gibt sie aber auch als Stand-Alone-Geräte. Für die vielfältigen Einsatzzwecke siehe auch Linetreiber Vari, XLR und Phono. Linetreiber regelt Kabeleigenschaften, Störeinflüsse und Folgegeräteeigenschaften aus Aufgrund seiner Lastunabhängigkeit und Niederohmigkeit (das Signal wird durch Belastung nicht schwächer, man spricht von einer geringen Ausgangsimpedanz, beim ABACUS-Linetreiber typischerweise 25 mOhm, also 0,025 Ohm) verhindert dieser Ausgang eine Veränderung des Signals durch Line-Kabel und störende, äußere Einflüsse auf sie, sowie durch die Eingänge der Folgegeräte (oder auch mehrere parallel). Kurz gesagt: Klangveränderungen durch Line-Kabel (wo sie denn stattfinden) werden auf ein Minimum reduziert, Störsignale (sogar bei ungeschirmten, langen Leitungen) können das Signal kaum beeinflussen und das Signal kann auf mehrere parallelgeschaltete, auch unterschiedliche Folgegeräte (z. B. mehrere Endverstärker oder Aktivlautsprecher oder beides) aufgeteilt werden, ohne schwächer zu werden oder sonst nennenswert an Qualität zu verlieren. Linetreiberausgänge können den Klang nicht selbst verbessern, sie können nur eine Veränderung durch oben genannte Einflüsse verhindern. Aufgrund dieser Eigenschaften kommen sie z. B. vielfach in neuen oder bestehenden Installationen, wie Heimkinos zum Einsatz oder überall dort, wo durch eine Fehlanpassung eines Line-Ausgangs an einen Line-Eingang klangliches Potential liegenbleibt. Das kann z. B. bei hochohmigen oder minderwertigen Ausgangsstufen von Vorverstärkern oder analogen Quellgeräten passieren. Bei symmetischen (XLR-)Ausgängen sind bei ABACUS-Geräten übrigens sogar immer zwei Linetreiber-Module verbaut, eines invertierend und eines nicht. Dadurch entsteht ein vollsymmetrischer Ausgang mit oben genannten Vorzügen, gepaart mit denen der symmetrischen Signalübertragung. Es dürfen an einem solchen Ausgang allerdings keine Adapter verwendet werden, die den negativen Signalleiter mit dem Nullleiter kurzschließen. Linetreiber als optimale Kopfhörerverstärker Bei kleinen Leistungen haben die Linetreibermodule auch an Schallwandlern dieselben Tugenden wie die ABACUS Leistungsverstärker. Und das macht sie ganz automatisch zu den idealen Verstärkern für kleine Schallwandler wie Kopfhörer. Dynamische Kopfhörer verschiedenster Impedanzen und Leistungen werden von ABACUS Linetreibern ebenso kontrolliert und präzise angetrieben, wie Lautsprecher von ihren "großen Brüdern". Darum sind die Kopfhörerausgänge an allen ABACUS-Produkten auch nie zweitklassige Kompromisslösungen, sondern immer hochwertige Kopfhörerverstärkerausgänge und vielfach sogar denen der Mitbewerber überlegen, die sich explizit so nennen.

The AEA RPQ with Curve Shaping and P48 power puts all the controls for ribbon mics at your fingertips: 80 dB of clean quiet JFET gain, P48 phantom power for active studio ribbons such as AEA’s A440, and LF trim and HF boost contols that are tuneable and defeatable so that you can tame proximity problems and/or add a little more to the top. The RPQ has the speed, quietness, and headroom needed for high resolution ribbon recordings, and it sounds good with condenser and moving coil mics. AEA’s DC-coupled JFET topology delivers all the dynamics, subwoofer bass and fast transients that your ribbon and other mics are capable of. Its discrete front end and integrated circuit architecture meld the quietness of solid state with an openness reminiscent of tubes. Live and location recording is another area where the RPQ shines. Its Low-Energy-Storage (LES™) circuitry recovers instantly from overloads, a big advantage with unpredicatable dynamics, and its exceptional No Load™ input impedance of over 10,000 Ω makes it an ideal active mic splitter. Mic splits usually load down, changing a mic’s sound, but not the RPQ. RPQ Electronics Specifications 80 dB of gain at 1 kHz, balanced-in to balanced-out Noise figure A-weighted < 2 dB, EIN < 129 dBu Aweighted Frequency response -3 dB <1 Hz and >200 kHz <.02 % THD at 1 kHz, 22 Hz to 22 kHz bandwidth Balanced mic input impedance >10 kΩ DC-coupled inputs protected from external P48 DC AC-coupled inputs with switchable P48 phantom power Twelve position stepped gain control from 7 to 55 dB Trim gain continuously adjustable from 0 to +19 dB Switched LF trim: -3dB points tuneable from 18 to 350 Hz Switched HF boost peak +6 dB at 12 noon, +16 dB max HF max boost +3dB points tuneable from 2 to 18 kHz XLR out has 6 dB gain, balanced or unbalanced load XLR max output+28 balanced, +22 unbalanced, 600 Ω ¼” TRS max output unbalanced +22 dBu, 100 kΩ load Pin 2 high on XLRs, tip high on ¼” TRS jacks Green LED snaps on at ~ -5 dBu, Red at ~ +20 dBu Yellow LED brightens from ~ 0 to +20 dBu RPQ Physical Details P48 Phantom & Polarity-Reverse pushbutton switches Rotary potentionmeters (pots) detented at 12 noon Grayhill series 71 stepped gain switch and trim pot LF Cut pushbutton switch and one pot HF Boost pushbutton switch and two pots Pushbutton power switch, LED power indicator Internal torroidal transformer with linear regulators Male recessed IEC power plug Laser engraved front panel markings Metalic blue and steel gray powder coat finish Aluminum and steel chassis Clear coated polished aluminum end caps Detachable polished aluminum rack ears Chassis: 17.25” wide, 11” deep, by 1.7” high Metric: 44 cm wide, 28 cm deep, by 4.3 high Weight: 6.75 pounds, Metric: 3.1 Kg Specifications as of Oct. 1, 2008, subject to change   Link: Wes Dooley, founder of AEA, talks about Studio Mic Pre Standards in the 50's

Der AEA Ribbon Mics RPQ3 ist ein hochwertiger 2-Kanal-Mikrofonvorverstärker mit integriertem Equalizer, der speziell für den professionellen Einsatz mit Bändchen-, dynamischen und Kondensatormikrofonen entwickelt wurde. Basierend auf der dritten Schaltungsgeneration von AEA bietet er extrem hohe Verstärkung, geringstes Eigenrauschen und außergewöhnliche Transparenz. Besonders in Kombination mit Bändchenmikrofonen spielt der RPQ3 seine Stärken aus. Die speziell entwickelte 68kΩ-Hochimpedanz-Eingangsstufe bewahrt den natürlichen Klangcharakter des Mikrofons deutlich besser als herkömmliche Vorverstärker. Dadurch bleiben tiefe Frequenzen, feine Transienten und offene Höhen besonders detailreich erhalten. Mit seinem sauberen und natürlichen Klang eignet sich der RPQ3 ideal für Gesang, akustische Instrumente, Orchesteraufnahmen, Schlagzeug und andere anspruchsvolle Klangquellen, bei denen höchste Präzision gefragt ist. Der hohe Headroom sorgt dabei für verzerrungsfreie und dynamische Signalverarbeitung. Zusätzlich zur leistungsstarken Verstärkungssektion verfügt der RPQ3 über flexible EQ-Funktionen zur gezielten Klangformung, ohne die Natürlichkeit des Signals zu beeinträchtigen. Die intuitive Bedienung macht ihn gleichermaßen geeignet für Recording, Mixing und professionelle Broadcast-Anwendungen. Durch die Kombination moderner, rauscharmer Elektronik mit AEA’s langjähriger Erfahrung im Bereich Bändchenmikrofone gilt der RPQ3 heute als eine der bevorzugten Lösungen für Toningenieure, die maximale Klangqualität, Transparenz und Musikalität suchen.

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: Two channels with 85dB of sweet and quiet JFET gain Switchable phantom-power, polarity reverse, and high-pass filter 63k ohm high-impedance circuitry providing better overall transients, frequency response, and higher output sensitivity Optimized for ribbon mics, condensers, and dynamics Switching power supply for easy use in any country 1U half-rack with optional hardware for mounting one or two units together

Features: Two-channel, high-gain, half-rack mic pre Ultra-high 68KΩ input impedance (phantom power off) 7 to 85 dB of gain 48V phantom and polarity switch HPF switchable -3dB at 115 Hz or 230 Hz External PSU Optional rack ears (for one unit) or rack shelf (two units) for mounting purposes

The latest addition to the Neve outboard range, the 1073DPA provides two of the world famous Class A Neve 1073 microphone pre-amplifiers. This classic design is the consummate mic pre for recording vocals, guitars and acoustic instruments of all descriptions. The sought after Neve Sound is now available in a cost effective 1U box.Classic Neve 1073 Mic Pre circuitaffordable classic Neve soundHand crafted by Nevesingle U rack mount unitphase reverse switchhigh quality input selector switch  Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

AMS Neve 1073 DPDTwo Legendary 1073 Mic Preamps with 192kHz Digital OutputThe 1073DPD combines two of our world-famous Class A Neve 1073 microphone preamplifiers with flexible 192kHz digital output capabilities, for modern recording environments – all in a single rackspace. This classic design is the consummate mic pre for capturing vocals and musical instruments, with the added convenience of direct output to hard disk recorders or computers, thanks to the high-quality Neve-designed analogue-to-digital converters.For those who don’t already know its legacy, the big, punchy sound of the mic 1073 preamp complements any musical genre, from rock to pop, hip-hop to rap, thrash to classical. Its lush sound with classic Neve signature makes it the consummate mic pre for recording vocals, guitars, and all acoustic instruments.With the 1073DPD, two Neve 1073 mic preamplifiers are complemented by superb Neve-designed analogue-to-digital converters that can capture a performance in any required format. In addition to Neve's famous Class A analogue, outputs are a series of digital options, including all standard PCM sampling rates up to 192kHz, selectable via convenient front-panel controls. A unique feature is the Neve DSD (Direct Stream Digital) output, providing unsurpassed quality beyond PCM technology.Despite its power, the 1073DPD is remarkably simple to operate. Two rear-panel Mic inputs and Line inputs feed dual Class A gain stages, with adjustable Gain control and selectable 48V available on the Mic inputs. Class A analogue outputs in XLR format are also found on the rear panel, controlled via adjustable front-panel ±10dB Trim controls. Analogue insert points are provided ahead of the A/D converters, ensure the classic Neve sound is retained.The combination of legendary analogue circuitry and superior digital quality makes the 1073DPD the obvious choice as a front-end for recording to digital workstations.Features:    Two legendary 1073 microphone preamps in a convenient 1U rackmount design    Superior Neve-designed analogue-to-digital 24-bit converters    192Khz operation with DSD conversion, selectable via front-panel controls    Dedicated input Gain controls and output Trim controls on both channels    +48V Phantom Power and Phase Reverse switch    High quality Input Selector switch     Neve designed transformers for inimitable Neve sound    Hand-crafted and hand-wired by Neve in Burnley, UK

Launched in 1970, the Neve 1073 Classic soon became the first choice mic preamp for leading producers and artists. Found 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 rap to classical.  The quality is legendary.  Designed and built in England, the modern-day 1073DPX is produced to the exact specifications of the original with matched components to ensure the sound remains true. The 1073DPX has two channels of Neve 1073 Class A design microphone preamplifiers, each with 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and high pass filter, adding warmth and depth to recordings, bringing out subtle ambience, maintaining spatial positioning, and capturing a more precise image – embodying, think many engineers and producers, the essence of the genuine Neve sound. Building on the 1073 classic module features, the 1073DPX introduces extra functionality with integrated DI input, phantom power, selectable Insert feature, level meters, selectable headphone monitoring and I/O connectors on each channel for easy and direct connection of microphones and instruments. The 19” rack-mount 2U unit includes an external multi-voltage PSU   2 independent, genuine Neve 1073 transformer-coupled microphone preamplier / EQ circuits, in a single 2U 19" rack mount enclosure Exclusive Neve Marinair™ transformers used on each input and output stage. Convenient connections for Mic, Line & DI inputs on front of unit, with switchable mic/line input connections on the rear of the unit Switchable +48v Phantom Power, Hi/Lo impedence, -20dB pad and DI ground lift on the input stage Switchable Phase, and EQ in/out Insert send and return loop feature allows external equipment to be connected easily to the 1073DPX audio chain, such as mono/stereo limiter/compressors; Pre-EQ insert send/return - a line level send is available from the mic-preamp output stage and a return just before the EQ stage Post-EQ insert send/return - a line level send is available from the post-EQ stage and a return just before the main output stage Independent channel output level controls 7-stage LED signal level meters for each channel - can show mic/line/DI input-stage level, EQ-stage level or output-stage level up to +24dB Headphone output with adjustable volume control, can listen to channel 1, channel 2 or both channels combined External multi-voltage PSU

Launched in 1970, the Neve 1073 Classic soon became the first choice mic preamp for leading producers and artists. Found 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 rap to classical.  The quality is legendary. Designed and built in England, the modern-day 1073N is produced to the exact specifications of the original, matching components to ensure the sound remains true.  The Class A design 1073N microphone preamplifier has 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and a high pass filter. The Neve 1073N mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and captures a more precise image – embodying, think many engineers and producers, the essence of the Neve sound. Building on the 1073 classic module features, the 1073N introduces extra functionality with an integrated DI input, I/O connectors for direct connection of microphones and instruments and other equipment, phantom power for powered microphones and a PSU for standalone use. It can also be fitted into compatible racks/housings or retrofit into 80 Series Neve Classic consoles.  Neve – no question.

The 1073OPX continues the 1073® lineage through to the new generation, packing eight legendary preamps into a 2U rack unit. Front-mounted XLR/TRS connection and rear D-type give ultimate connectivity to any Studio/Live/Broadcast environment and its modern remote-control software gives two-way control over its features and Total Recall® of all settings.   Microphone & Line sources benefit from the Marinair® transformer-coupled input stage and Instrument sources can be connected directly to the front-mounted D.I input for recording in the studio control room. The 1073OPX’s unique Analogue monitor signal path allows for use as a complete standalone I/O interface or as a live room remote preamp with full latency-free monitoring cue mix signal path.  Its new, powerful digital card comes with Neve’s industry-revered mastering-grade converters. This option gives up to 192kHz/24-Bit A/D conversion over USB connection for use as a Primary Audio Interface to any connected DAW-enabled computer as well as Primary and Secondary Dante®  connectivity for a multitude of Audio-over-IP applications. The 1073OPX modern, elegant hardware and software design takes the classic Neve sound into the future. The 1073OPX Digital Option  The 1073OPX Optional Digital card provides a USB and Dante AD/DA interface with eight channels of analogue to digital conversion for each 1073OPX preamp output and two channels of Digital to Analogue conversion for the digital monitor return signal path. The USB connection allows the 1073OPX to be connected to a DAW enabled PC/MAC computer to be used as a Primary/Core audio interface. In addition to the USB connection,  Primary and Secondary Dante connections allow for the 1073 OPX to be connected to any Dante Audio-Over-Ip network as a Dante enabled preamp. The Digital card can be retrofitted easily to any existing 1073OPX units. Features: 8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers  Exclusive Neve® Marinair® transformers on the Microphone input Class-A transformer-less DI input Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!) Automatic Total Recall™ of all settings Front Mic/Line combi input Rear Mic/Line D-Type connection 80Hz High pass filter -25dB pad Phase flip Smart Phantom Power control Hi/Lo Impedance selector from 300Ω to 1.3KΩ Separate stereo monitor path with Independent level control Latency-free monitoring of all signal sources Eight front D.I inputs for instrument tracking Front-mounted Headphone output Digital Option containing: USB connection for use as a standalone primary audio interface/core audio device    Dante Primary and Secondary connection for Audio-over-IP application  Word Clock Sync In/Out  electable Headroom from +18, +24, +26dB

The quality is legendary. Designed and built in England, the modern-day 1073SPX is produced to the exact specifications of the original with matched components to ensure the sound remains true. The 1073SPX has a Neve 1073® Class A design microphone preamplifier, with 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and high pass filter. Building on the 1073 classic module features, the 1073SPX introduces extra functionality with integrated DI input, phantom power, selectable Insert feature, level meters, output level control and front input connectors for easy and direct connection of microphones and instruments. The 19” rack-mount 1U unit includes an external multi-voltage PSU An optional Digital I/O module (to be announced early 2018) can be fitted into the 1073SPX and provides digital connectivity at a range of sample rates. Mastering-grade converters are used and the simple configuration and convenience of digital connectivity make the 1073SPX the ultimate front-end for capturing the best possible recordings. Features: Genuine Neve 1073 transformer-coupled microphone preamplifier / EQ circuit, in a single 1U 19" rack mount enclosure Exclusive Neve Marinair™ transformers used on input and output stages Convenient connections for Mic, Line & DI inputs on front of unit, with switchable mic/line input connections on the rear of the unit Switchable +48v Phantom Power, Hi/Lo impedance, -20dB pad and DI ground lift on the input stage Switchable Phase, and EQ in/out Insert send and return loop feature allows external equipment to be connected easily to the 1073SPX audio chain, such as mono limiter/compressors; Pre-EQ insert send/return - a line level send is available from the mic-preamp output stage and a return just before the EQ stage Post-EQ insert send/return - a line level send is available from the post-EQ stage and a return just before the main output stage 7-stage LED signal level meter - can show mic/line/DI input-stage level, EQ-stage level or output-stage level up to +24dB Output level control External multi-voltage PSU Optional Digital I/O module

The classic original EQ/Mic Pre has been re-released!Neve Outboard equipment is faithfully reproduced to the exact standards that Neve has employed ever-since the first modules were made, including the original Neve specifications for all components, design, manufacture and test.

AMS Neve Air Mono Mic Pre Module (Blue)The Neve 1081R makes an ideal alternative for engineers looking to deliver the Neve sound quality, without investing in a new console. The rack can be positioned remotely and controlled by a PC making it ideal for both studio and live recordings. This system consists of a micro processor controlled 12 way rack and a choice of three mic pre-amplifiers, the 1081, 1073 and Air Montserrat (from the vintage Air Montserrat console). By selecting a combination of these three mic pre-amp designs, engineers have the flexibility to record classical music, pop, rock and roll or any required sound. The Air mic pre is the optimum choice for ambient mic techniques. The 1081 offers a perfect response to close micing techniques and the 1073 provides a unique class A sound. The 1081R rack is connected to a PC by means of a 9 pin serial control cable via an RS232 to RS485 converter. The settings for the 1081R channels can be saved to and loaded from the PC. Operational settings such as gain, phase & 20dB pad can be controlled either from the rack itself or more commonly, via the interface screen.

1081R mic preamp channel strip. The 1081R is the ideal solution for engineers seeking multiple channels of Neve sound quality without investing in a new console. This system consists of a microprocessor-controlled 12-slot rack and a choice of two superb mic preamps, the Neve 1081 and Air Montserrat (from the vintage Air Montserrat console).By selecting their desired combination of mic preamps, engineers have the flexibility to record classical, pop, rock, or any other musical format, and control it all from a Mac, PC or Neve Console. In terms of application, the Air Montserrat Pre is the optimum choice for ambient recording, while the 1081 offers the perfect response for close miking of vocals, acoustic instruments, and percussion.The rack can be positioned remotely and controlled via Mac or PC, making it the perfect choice for studio or live recording applications. (Connections come courtesy of a 9-pin serial control cable via RS232 to RS485 converter.) Operational settings such as gain, phase and 20db pad can be controlled either from the rack or via the interface screen, and stored for later recall.The 1081R allows these legendary mic preamps to be used as remote inputs for the 88RS analogue console, or provides the perfect companion to our digital consoles.HeritageThe mic preamps utilised in the 1081R Remote Rack represent the very essence of the Neve sound. These pres?the 1081 and the Air Montserrat?are chosen time and time again by recording engineers and producers all over the world. They have proven themselves over decades of tracking some of the most famous recordings of all time, and are found in a vast majority of the world's finest studios.SpecificationsMicrophone Module Specifications and Description Microphone Input :    XLR inputs, Zin 1Kohm @ 1kHz, gain +20 to +70 in 5dB steps Microphone Maximum Input Level, with 'pad' in :    +24dB Outputs :    Max +26dB into 600 ohms. Z out 50 ohms +/-5% @ 1kHz, balanced Distortion :    Not more than 0.07% for 20dBm output from 50Hz to 10kHz @ 60dB gain Microphone EIN :    > -123dBm 20Hz to 20kHz @ 60dB gain Module Dimensions :    35mm x 158mm Optional Mic/Line input Modules Specification and DescriptionThere are optional variants of the above modules which allow a line input to be switched into the circuit allowing complete low impedance, line level feed from the rack to the console.Line Input: Zin 50k ohm, unity gain, electronically balanced.

4081 Quad Mic Preamp Four Classic Mic Preamps, One Powerful Remote-Controlled UnitThe 4081 Quad Mic Preamp builds on the incredible success of the 1081 and 1081R modules and provides both powerful control and legendary Neve sound.Perfect for vocals, ADR and Foley Recording, the 4081's features make it the number one choice for any studio, OB truck or live stage environment. Every function of the 4081 can be controlled directly from the front panel or by remote control using a Mac or PC with Neve Remote Control software. This provides a simple and elegant solution for users of ProTools, Nuendo, Cubase and similar DAW systems. Multiple 4081 units can be linked together to create up to 64 independent channels of Mic Preamps or Line Level inputs – all controlled from a single computer. An optional Digital card provides a FireWire/AES interface with four channels of A/D conversion to either AES or FireWire. An insert point is available before the A/D converter on each channel to allow external, analogue Outboard equipment to be switched into the signal path. Four channels of AES-to-analogue or FireWire-to-analogue conversion are also available.An optional 19" rack-mount kit can be used to securely mount one or two 4081 units into a 19" rack enclosure.Highlights Remote Control of legendary Neve microphone preamp design Four genuine 1081 Mic preamp channels in a single 9.5” wide unit Two units can be linked together to provide 8-channels in a 19” unit with optional 19" rack-mount kit Remote control using a Mac or PC with Neve Remote Control software XLR Mic input can be switched between Mic and electronically balanced Line Switchable 48V Phantom power supply Digital I/O Option: Firewire/AES interface with four channels of A/D conversion to either AES or FireWire and 4 channels of D/A conversion. Analogue Insert (pre A/D converter) per channel.

HORIZONTAL MODUL!! Taking the Legendary 1073 Design to the Next Level. Occupying a special place in engineers' and producers' sonic palettes and imaginations, the 1084 microphone preamplifier and equaliser module delivers an incredibly fat, smooth sound. While the 1084 builds on the same basic design that made the 1073 world-famous, it offers a significantly different palette of frequency selections. The 1084 also features a 'Q' switch, allowing the user to choose between two different Q types, either narrow or wide with respect to the parametric band. Many engineers and producers prefer this module to the 1073 because of these added features and the 1084’s extended versatility. The 1084’s three EQ bands provide selectable frequency, with cut and boost capability, and a mid-frequency band which benefits from a High Q Presence switch. The high pass filter can be switched between 45Hz, 70Hz, 160Hz & 360Hz, and the low pass filter between 6kHz, 8kHz, 10kHz, 14kHz, & 18kHz. Both boast 18dB per octave slopes. Handcrafted and completely hand wired in Burnley, UK by Neve’s dedicated professionals, the 1084 reissue has been reproduced to the same exacting specifications of the original modules. While other manufacturers are content with merely copying the original 1084, Neve has remained faithful to the original—all the way down to the component level. Where innovation has improved on previous technology, Neve has welcomed such improvements. However, not all things lend themselves to enhancement. Example: audio transformers. While other manufacturers use replacements, AMS Neve alone has access to the original hand-wound transformers. This is an important factor when you consider that an analogue preamp is only as good as its transformer. That is why only a Neve sounds like a Neve. All Neve mic preamplifiers are designed to accept signals from a wide range of microphone and line sources. Uncompromisingly low noise and distortion with generous overload performance are noteworthy hallmarks of all Neve products. Based on the same technology as the 1073, the 1084 Mic Preamp delivers classic Neve sound. Originally fitted into a custom-built A1085 console for Whitney Studios in Los Angeles, the original 1084 Mic Pre & EQ module offered recording engineers and producers a level of sonic precision previously considered unobtainable. The 1084 module soon became a firm favourite among engineers and producers, and was fitted into many Neve consoles throughout the 1970s. Classic Neve transformer mic preamplifier with wide range of equaliser settings Choice of 'Standard' or 'Air Studio' preamp modules 3 switchable EQ bands Hand crafted and tested precisely to original 1970 design HP and LP filters with High Q setting Transformerbalanced and earth free inputs and outputs Output: Maximum output >+26dBu into 600 ohms. Output impedance is 75 ohms @1kHz. Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output Freq. Response: +/0.5dB 20Hz to 20kHz, 3dB at 40kHz. EQ Out. Noise: Not more than 83dBu at all Line gain settings EQ In/Out