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

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.

"Depth, detail, and bottom end for days. So much focus and tone from one phantom powered ribbon mic." - Darrell Thorp (Radiohead, Beck, Paul McCartney)   More open and natural than any ribbon mic you've ever heard Designed for overheads, strings, and room mics Unobtrusive, video friendly look The same Big Ribbon™ as the R44 Phantom powered electronics for optimal performance with any preamp 100% manufactured in Pasadena, CA   Modern Look, Big Ribbon Sound! Following the successful N22 model designed for singer-songwriters and project studios, the N8 sounds distinctly different despite having a similar appearance to the N22. In designing the N8, we set out to create the most open and natural sounding ribbon microphone ever made. Conceived to render acoustic spaces as faithfully as possible, the new N8 microphone excels in capturing drum overheads and rooms, strings, classical ensembles, and orchestras. As such, it is the ideal complement to the N22 microphone. But even when used up close, the N8 delivers exceptional clarity and warmth, while also taking EQ extremely well without ever being harsh.By employing a similar design philosophy as used on the popular R88 stereo ribbon microphone, the N8 achieves an astonishingly transparent sound with a superior transient response that lets AEA’s famed Big Ribbon truly shine. The aluminum ribbon in the N8 is identical to the flagship R44 model in its dimensions and tuning, putting it in direct lineage of the iconic RCA 44 type.The N8’s unobtrusive size and the “stealth” matte black finish is ideal for orchestral and TV work, where microphones need to be easy to position and more or less invisible. The N8’s phantom-powered electronics and a custom German transformer complete the package and deliver groundbreaking low level detail and optimal distortion performance, even when driving long cable lines in remote recording situations. Just like all other AEA products, the N8 is 100% manufactured in Pasadena, CA. The N8 is the second member of AEA’s NUVO series of microphones. Rooted in the RCA tradition just like other AEA ribbon microphones, all NUVO microphones are designed to offer a fresh approach to the ribbon transducer and represent Wes Dooley’s take on the evolution of the ribbon microphone.   About the NUVO Series The N22 is the first member of AEA's NUVO series of microphones. Rooted in the RCA tradition just like other AEA ribbons, all NUVO microphones are designed to offer a fresh approach to the ribbon transducer and represent Wes Dooley's take on the evolution of the ribbon microphone.   "The N8 has the wonderful natural sonic characteristics of a ribbon mic, with a very focused tone that captures acoustic instruments like no other mic I own. Whether it's placed near or far from the sound source, there is a warmth imparted that is clear and true to the instrument." - Ben Tolliday (Alanis Morissette, Wolfmother)

  If you are new to ribbons, you are in for a treat! The AEA R84 Ribbon Microphone is an outstanding general-purpose microphone, ideally suited for solo and accent work. It is hard to find an application where the R84 mic does not shine. Its natural sound and figure-8 directional sensitivity mean the R84 gives you everything professionals expect from a quality ribbon mic. Pure natural sound with quick, smooth transients, just as you hear it when you place your mic in the studio Versatility that lets you capture brass instruments, strings, piano, percussion or vocals Extended bass and treble that handles high SPLs at high frequencies and delivers the details without shoving anything in your face Outstanding transient response for natural sound The AEA R84 uses use a big, 2.35' by 0.185' by 2 micron pure aluminum low-tension ribbon element, that ensures a quick response, whatever the application. This means that percussive attacks, vocal consonants, and other rapid-attack material are cleanly and accurately reproduced by the R84 with no 'dull' or 'flabby' characteristics. It sounds just like you're standing right in front of the source! A versatile mic for multiple recording applications The AEA R84 uses Large Ribbon Geometry (LRG) that's suitable for use by the most demanding audio professional or hobbyist. Whether you're recording brass instruments, strings, piano or percussion, or you're trying to capture that elusive 'perfect' vocal take, the R84 large ribbon microphone is up to the task. Superb bass and treble response that handles high SPLs The R84 produces solid bass down to 20Hz and clean, clear highs up to 20kHz. Plus, it's capable of handling better than 165 dB SPL at higher frequencies, so whether used on vocals or instruments the R84 offers a performance that covers the entire frequency and dynamic range yet is still intimate, warm and detailed, yet never harsh. The AEA R84 is supplied in a complete system that includes a shock mount, 6-foot mic cable and sturdy foam-lined carrying case. Weighing-in at under two pounds and measuring eight inches tall and 2.7 inches in diameter, the R84 is a great sounding microphone that is extremely versatile. Reliable ribbon mic with wide dynamic range Large Ribbon Geometry (LRG), 2.35' by 0.185' by 2 micron pure aluminum low-tension ribbon Able to handle better than 165 dB SPL at higher frequencies Figure 8 pattern for duo recording convenience Includes shock mount, 6-foot cable and sturdy foam-lined carrying case   Link: Wes Dooley, founder of AEA, talks about Studio Mic Pre Standards in the 50's

AEA R88 MK2 Stereo Ribbon Microphone DetailsThe new R88 MK2 features the same pure BigRibbon sound in a new shockmount that is easier to position.  The AEA R88 MK2 Stereo Ribbon Microphone is a stereo pair of AEA R84's in one capsule! It utilizes the same basic LRG and acoustic structure as the AEA R44CNE, and delivers that "big ribbon" sound for Stereo applications. Wes Dooley has extensive experience in multi-mic and stereo recording. His experiences in North America, Europe, Africa and New Zealand led him to develop portable recording tools such as multi-channel microphone arrays, MS stereo processors, stereo phase displays and very tall microphone stands. Now he has developed an exceptional stereo ribbon mic! The AEA R88 MK2 is designed to be a higher performance microphone with less internal shielding since it's not intended for close micing situations.The R88 MK2 has been optimized for stereo instrument and ensemble recording. The R88's two ribbon motors are oriented at 90 degrees, and have excellent off-axis frequency response. The R88 MK2 uses the large ribbon configuration of the classic RCA 44 series mics, which gives the mic solid 20Hz bass response and a smooth high end which is flattering to complex tones such as cymbals, strings, and woodwinds. The R88 MK2 is very useful for chamber music, drum overheads, stereo piano pickup, horn sections, and most any coincident stereo pickup application. The high quality passive electronics in the R88 MK2 ensure a huge dynamic range with minimal distortion, but the R88 will sound best with a preamp that has at least 60dB of clean gain, low noise floor (-127dB EIN or better) and input impedance of at least 1.5 kOhm.     The R88 MK2 is minimally protected from wind blasts for the most natural sound quality possible, so a pop filter should be used when making close vocal recordings. The R88 MK2 may be used for both Blumlein stereo and M-S Stereo recording techniques. The mic is finished in Stealth black to reduce visibility in live recording situations, and features an integral shock suspension to reduce noise coupled through the mic stand.AEA R88 MK2 Stereo Ribbon Microphone Features       New shock mount suspension for easy positioning   Matched pair of Large Ribbon Geometry figure-eight mics for Blumlein or MS stereo   20 hz to 20 kHz response Captive 4 meter cable to two A3M connectors   Supplied with a locking angle adapter for flexible positioning   Designed to fly overhead for large venue installations   Three pounds plus the cable weight   2.5" diameter and 14" tall   Black stealth finish   Sturdy zippered case         AEA R88 MK2 Stereo Ribbon Microphone Specifications Transducers: dual 2" ribbons oriented at 90 degrees Sensitivity: -52dBV/Pa Frequency Response: 20Hz–15kHz (± 3dB) Output Impedance: 270 ohms SPL Handling: 165dB SPL at 1 kHz           AEA R88 MK2 Stereo Ribbon Microphone Reviews"There's no other ribbon that duplicates what the R88 ($1,895) does for bass, drums, percussion, brass and mallet instruments. It imparts warmth, has an appealing way of dealing with transients and, most importantly, has a knack for making things sound incredibly "real." At this price, it's a no-brainer."      – Mix Magazine      "When I heard that Wes Dooley at AEA was planning a stereo version of the R84 – the R88 – I was interested. I frequently use my R84s for stereo miking, but putting two 12" long mics end-to-end at 90 degrees on a single stand at a height of 8-12' is no small task."      – EQ Magazine       "When I showed the producer and arranger what the 88 sounded like all by itself, they were shocked...They were hard-pressed to believe that one mic could make a sound that big."        – Lynn Fuston, 3D Audio Inc., Franklin, Tennessee "The R88 is beyond belief. It makes every room in my house like a perfect room...Really joyous mike."      – Pete Townshend, The Who, London     Link: Wes Dooley, founder of AEA, talks about Studio Mic Pre Standards in the 50's  

The new stereo R88A active ribbon microphone with custom toroid transformers captures sound as your ears hear it with an honest, open tonality. The R88A effortlessly records the sonic intricacies of drums, strings, piano, and other instruments that produce complex transients. The extra 12dB of transformer gain is advantageous when recording quiet sources like vocals or soft acoustic guitars. The active impedance buffers help prevent noise interference on long cable runs or when operating near large lighting rigs. The R88A requires standard 48V phantom power to operate. Features: Same award-winning stereo perspective as the passive R88mk2 Phantom powered (48V) version of AEA's classic R88mk2 with 12dB more transformer gain Compatible with any preamp and input impedance Fast, accurate transient reproduction Stereo ribbon microphone that offers a natural sound Captures amazingly precise stereo imagery with a single mic Larger-than-normal ribbon elements handle high SPLs with ease Figure-8, Blumlein Configuration (90 degrees) polar pattern 141dB Max SPL

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

Specifications Fibre-optical cable, Multi-Mode 62,5/125 µm, simplex Cable Color: orange Cable Ø: 2 mm Available lenghts 0,5 m = Produkt-Nr. ONK050 1 m = Part No. ONK0100

Der Amphion Amp700 ist ein Class-D-Stereoverstärker mit einer Class-A-buffer-stage, mit der alle Amphion-Lautsprechermodelle ausreichend mit Strom versorgt werden können.Der Amphion Amp700 liefert 2x350 Watt an 8 Ohm und 2x700 Watt an 4 Ohm mit verschwindend geringer Verzerrung und hoher Auflösung über das gesamte Frequenzspektrum.Die Class-A-buffer-stage ermöglicht nicht nur die Verwendung von unsymmetrischen und hochohmigen Signalen, sondern bietet auch eine verbesserte Schallleistung, die derClass-D-Topologie einen Hauch von Class-A-Charakter verleiht. Der Class-A-buffer-stage ist komplett im Haus eingebaut und entfernt jeglichen möglichen DC-Offset aus dem Signal und verringert die Eingangsempfindlichkeit des Verstärkers.Featues: 2 x 350 W bei 8 Ω oder 2 x 700 W bei 4 Ω bei 1% THD Inhouse Class Buffer Stage 100kHz lastunabhängiger Frequenzbereich (-3dB) Fast flacher THD vs Frequenz AUX-Ausgang für dritten hanger channel 2HE Rackmount XLR-Eingang 4 x Argento Audio 3 way binding post for banana's, bare wire or spades

One15 studio monitors are pure and authentic across the whole frequency spectrum. They offer an impressive stereo image, keeping the accurate balance even at low listening levels. These monitors translate perfectly to any other playback system, saving you time from additional checks and amendments. Be it for tracking, mixing or mastering, One15 studio monitors are the optimum affordable nearfield monitors. Providing clear and transparent mids, smooth highs, and an incredibly honest bass response, the One15 can easily fit in any musician’s set up, even in those, demanding extra clarity in the low-frequency spectrum. Any pro-monitoring setup could benefit from Amphion One15s. These high-end passive monitors employ custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound needed to make critical mixing decisions. Every tool a sound engineer or producer uses, either helps to make the final product better or allows working quicker. But with the One15 studio monitors, you can do both. Make better decisions faster no matter if you are composing, tracking or mixing. The One15 nearfield monitors are equally suited to the commercial or home studio environment.

Amphion’s One18 studio monitors offer a wide sweet spot and pinpoint-accurate imaged sound. This allows for fast and accurate creative decisions. Whether you are writing music, recording, or mixing, the One18 loudspeakers can be your creative weapon-of-choice. Thanks to their natural tone and balanced frequency response you can enjoy 12-hour-long sessions, with no ear fatigue. Extremely detailed but not bright or harsh, the One18 studio monitors allow you to achieve great results quicker and without any doubt. Their perfect translation to any other listening system or environment brings no surprises when auditioning your work outside of your studio. While being remarkably accurate, One18 monitors are strikingly musical and able to translate not only the finest mixing details but also the most delicate acoustic emotions. This results in an effective and deeply enjoyable music-creating process. The Amphion One18 studio monitor offers premium performance for critical monitoring sessions. These high-end passive monitors employ a custom-designed 6.5″ (180mm) woofer, a fast-response titanium tweeter, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound you need to make critical mixing decisions.

Amphion Two18 studio monitors are Choice #1 for a number of A-list composers, sound engineers, and producers. The Two18 monitors bring them the confidence that their work will translate accurately to the outside world. These loudspeakers provide a neutral presentation, with a phase-accuracy and imaging that is second to none. Whether you are composing, tracking, mixing, or mastering, the Two18 studio monitors are the perfect tool to assist you finishing your work both faster as well as achieving premium results. These transparent and elegantly-truthful studio monitors are perfectly balanced, and easily respond to any acoustic environment, personal tastes, or music genre. The Two18 monitor provides very clear definition – particularly space and sonic placement, and even frequency response and dynamic changes. They remain full and sonically constant at lower listening levels, making them ideal for long-haul mix or mastering sessions. The Two18 studio monitors provide exceptionally precise imaging and a wide sweet spot, keeping the sound well-balanced even when you move around the room. Amphion’s Two18 is a high-end passive monitor that employs custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver natural, transparent and un-hyped sound. The dual LF/MF drivers work in tandem with precise phase alignment to reproduce a wide sonic range with exceptional accuracy.

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

1028 Features The 1028 is completely hand-wired using Carnhill (St. Ives) transformers. It has the exact same mic/line preamp as the 1073, but with significantly more frequencies in the mid and hi sections. Aside from simply offering more frequency settings to play with, these expanded EQ sections also allow you to play the mid bell curve directly against the high and low shelves where they overlap. This capability opens the tone shaping possibilities in very interesting and musical ways. The 1028 includes the same low pass filter as the 1084, giving it 28 frequencies. High Frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz Low Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220Hz. Mid Range: +/-12dB or +/-18dB peaking with switchable selectable centre frequencies of 160Hz, 270Hz, 360Hz, 510Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, 7.2kHz, 8.2kHz, 10kHz. High Pass Filter: 18dB per octave slope, switchable between 45Hz, 70Hz, 160Hz & 360Hz. Low Pass Filter: 18dB per octave slope, switchable between 6kHz, 8kHz, 10kHz, 14kHz, & 18kHz. EQ Button: Switches the equaliser on or off Phase Button: 180°   "I spent years on the 1073 but enjoy the extra EQ I get now. Aside from that for my voice I won't go through anything else."- Ryan Star