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!
The KGB-II and KGB-Itf are single-ended, high input impedance, discrete audio pre-amps designed for high impedance, unbalanced outputs such as: guitar, bass guitar, and electronic keyboards. Just as a low impedance, balanced pre-amp is needed, (designed for use with microphones), a pre-amplifier designed for use with unbalanced high impedance instruments is also required. The KGB Series contains high voltage, discrete op-amps with balanced output transformers by Cinemag, Inc.
The KGB-II is a two-channel, solid state unit that allows use of both channels for stereo recordings or live performances. This works well with stereo output instruments such as: keyboards or stereo guitar pickups. For bass players, there is freedom to use two basses in a live performance, simply by picking up the other bass and playing without any delay between songs.
The KGB-Itf (Tone Filters) is a mono unit . It has the same features of the KGB-II, but includes three tone controls, High, Mid, and Bass.
General Features:
All Metal Chassis
Milled Aluminum Knobs
Balanced XLR Gold Pin Neutrik Outputs
Switchcraft 1/4" Input Jacks
Bipolar Electrolytic Capacitors
1% Metal Resistors
Blue Led Power Indicator
4 Rubber Feet
Heat Vents
KGB-II Features:
Two Discrete Inputs with Thru
Gain Select Switches for each channel
High/Low
Phase Reverse Switch for each channel
Gain Lift Switch
External Power Transformer for a very low Noise Floor
The KGB-II and KGB-Itf are single-ended, high input impedance, discrete audio pre-amps designed for high impedance, unbalanced outputs such as: guitar, bass guitar, and electronic keyboards. Just as a low impedance, balanced pre-amp is needed, (designed for use with microphones), a pre-amplifier designed for use with unbalanced high impedance instruments is also required. The KGB Series contains high voltage, discrete op-amps with balanced output transformers by Cinemag, Inc.
The KGB-II is a two-channel, solid state unit that allows use of both channels for stereo recordings or live performances. This works well with stereo output instruments such as: keyboards or stereo guitar pickups. For bass players, there is freedom to use two basses in a live performance, simply by picking up the other bass and playing without any delay between songs.
The KGB-Itf (Tone Filters) is a mono unit . It has the same features of the KGB-II, but includes three tone controls, High, Mid, and Bass.
General Features:
All Metal Chassis
Milled Aluminum Knobs
Balanced XLR Gold Pin Neutrik Outputs
Switchcraft 1/4" Input Jacks
Bipolar Electrolytic Capacitors
1% Metal Resistors
Blue Led Power Indicator
4 Rubber Feet
Heat Vents
KGB 1tf Features:
Single Discrete Input with Thru
Gain Select Switch
High/Low
Phase Reverse Switch
Ground Lift Switch
External Power Transformer for a very low Noise Floor
Three Band fixed frequency Tone Filter with 12db cut/boost
High/Mid/Low
Applications:
Output to Line-In to FOH or Stage Monitors.
Output to Line-In on a Recording Console.
Output to Input of Digital Audio Converters.
Output to Power Amplifiers.
Balanced, Line-Level +4db Output, which allows for bypass of the typical DI, Microphone Preamplifier and other input stages.
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.
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 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.
m Look der neuen Endstufe ABACUS 60-120D Dolifet und erstmals auf der ABACon 2014 gesehen und gehört, präsentiert ABACUS einen neuen Vorverstärker, “Preamp 14” (RC/Preamp/Streamer/Cleaner/Phono/Linetreiber/Kopfhörerverstärker), ausgestattet mit symmetrischen und asymmetrischen Ein- und Ausgängen.
Features:
6 Eingänge
IR-Fernbedienung im Vollmetallgehäuse
Kanal 1 und 2 wahlweise symmetrisch oder asymmetrisch
Kanal 6 wahlweise Line-In oder Phono-MM (per Jumper wählbar)
Pre Out variabel symmetrisch und asymmetrisch
Line-Ausgang fix (Monitor)
Heimkino-Bypass-Funktion für alle Kanäle wahlweise (setzt Lautstärke auf 1:1 fest)
AudioVero Cleaner für alle Kanäle wahlweise
optional mit Aroio-Streamer (auf Raspberry Pi Basis mit AroioDAC, unterstützt Squeezebox-Emulation u.a.)
Alternative Version mit Raumkorrekturmodul erhältlich bei AudioVero
Aufwendige Stromversorgung
Geschaltete Netzsteckdose
Kompromissloser Kopfhörerverstärker
Ausgang ausgestattet mit Linetreibermodulen der neuesten Generation
gegen Aufpreis mit Widerstandsleiter-Potentiometer-Lautstärkeregelung (getrennt bestellen, wird im Werk eingebaut)
Wahlweise schwarz (+100,- €) oder naturfarben (silbern) eloxiertes Gehäuse
Garantie: 3 Jahre
Die Vorverstärkereingänge
Der Preamp 14 verfügt insgesamt über 6 analoge Stereo-Eingangskanäle. Das Signal wird jeweils elektronisch gepuffert und galvanisch umgeschaltet.Die Kanäle 1 und 2 können sowohl symmetrische, also auch asymmetrische Signale verarbeiten (nur nicht gleichzeitig). Das symmetrische Signal wird dabei ggf. elektronisch asymmetriert und kann erforderlichenfalls im Pegel mittels interner Jumper an andere Quellen angepasst werden.Der Kanal 3 ist entweder ein asymmetrischer Line-Eingangskanal oder der Eingang für den optionalen Aroio-Streamereinschub. Die Kanäle 4 und 5 sind asymmetrische Line-Eingangskanäle. Der Kanal 6 ist serienmäßig mit einem Phono-Entzerrer für Magnettonabnehmer ausgestattet, lässt sich aber bei Bedarf mittels interner Jumper zu einem weiteren Line-Eingang umkonfigurieren.
Der Vorverstärkerausgang
Wie alle ABACUS Produkte enthält der neue Preamp 14 die lastunabhänge ABACUS Ausgangsschaltung. Hier kommen dafür „Linetreiber“-Module der neuesten Generation zum Einsatz, die das Line-Signal zum Folgegerät „treiben“ und eine Veränderung durch Kabeleigenschaften nicht zulassen. Der Preamp 14 ist also perfekt geeignet, auch lange Leitungen – zum Beispiel auf dem Weg zu Aktivlautsprechern – zu speisen. Das Signal steht dabei gleichwertig asymmetrisch über Cinch oder elektronisch symmetriert über XLR zur Verfügung. Außerdem gibt es noch einen Cinch-Fixausgang (Tape-Monitor).
AudioVero Cleaner
Funktionsprinzip des Cleaners
Die Wandlung von digital gespeicherten oder übertragenen Daten in ein analoges Musiksignal birgt prinzipbedingt viele Fehlerquellen, die das Klangergebnis negativ beeinflussen können. Viele dieser Fehler wirken sich besonders deshalb nachteilig aus, weil sie auf den beiden Stereokanälen unabhängig, und damit unterschiedlich auftreten, oder wissenschaftlich korrekt ausgedrückt: die Störungen sind unkorreliert.
Ziel einer guten Stereo-Aufnahme soll es aber sein, ein Schallfeld zu erzeugen, das der menschlichen Hörwahrnehmung ermöglicht, ein 3-dimensionales, räumlich fein aufgelöstes akustisches Bild zu rekonstruieren. Die Signale beider Stereokanäle stehen also in einem unbedingten Zusammenhang, sind also korreliert. Werden nun aber der linke und rechte Kanal mit Störsignalen überlagert, die noch dazu auf beiden Ohren unabhängig voneinander ankommen, wird das Gehirn bei dieser Rekonstruktion gestört. Räumliche Informationen werden dadurch unpräzise und das Hören strengt stärker an.
Nun kann man durch sehr großen Aufwand versuchen, diese Fehler zu minimieren, oder aber, man verteilt sie derart um, dass sie eben auch korreliert und dadurch weniger schädlich sind.
Dies geschieht im Cleaner-Modus dadurch, dass bereits in der digitalen Domäne, also vor der Wandlung, das Stereosignal umgerechnet wird in ein sogenanntes M/S-Signal, das aus einem Mittensignal und einem Seitensignal besteht. Diese beiden Signale stellen einfach nur eine andere Repräsentation desselben Signals dar, enthalten aber jeweils beide Kanäle.
Nach der D/A-Wandlung muss nun das M/S-Signal wieder zurückgerechnet werden in ein L/R-Signal, das nun noch immer dieselben Restfehler enthält, aber eben links-rechts-korreliert und dadurch wesentlich weniger schädlich.
Cleaner-Funktion im Preamp 14
Der ABACUS Preamp 14 verfügt für jeden Eingangskanal über die analoge Signalverarbeitung, die die Rückrechnung des M/S-Signals in ein L/R-Signal nach der D/A-Wandlung durchführen kann. Sie kann für den aktuell gewählten Kanal durch Drücken der Taste “AudioVero” zu- oder weggeschaltet werden.
Voraussetzung für den Cleaner-Betrieb ist aber eine M/S-Kodierung auf der digitalen Seite. Diese kann entweder durch ein entsprechendes Plugin realisiert werden, das in die Wiedergabesoftware integriert werden muss (siehe z.B. Voxengo MSED) oder durch Aktivieren der entsprechenden Funktion in der aktuellen Version der AudioVero Raumkorrektursoftware “Acourate”.
Hinweis: Wirkt die Wiedergabe ungewohnt linkslastig und aus dem rechten Kanal kommt nur ein sehr leises, dünnes Signal ist das ein Zeichen dafür, dass die Cleaner-Funktion unvollständig arbeitet, d.h. entweder in der digitalen oder in der analogen Domäne die Umrechnung nicht erfolgt.
Cleaner-Funktion mit AroioEX-Streamererweiterung
Ist der Preamp 14 mit dem optionalen AroioEX-Streamer-Modul ausgestattet und dieses mit dem original Aroio-Image bespielt, kann dieses die M/S-Kodierung im Digitalen selbst vornehmen. Der Aroio-Streamer hat trotz seines überschaubaren Aufwandes durch diese Funktion einige Vorteile gegenüber anderen Abspielgeräten.
Heimkino-Bypass (HTBP)
Der Preamp 14 ist das Bindeglied zwischen hochwertiger analoger Stereo-Wiedergabe und Heimkino-Funktionalität.
Um beide Welten zusammenzubringen werden die Frontkanäle eines Multikanal-Receivers, DVD/BluRay-Players oder Heimkino-PCs einfach wie eine analoge Stereo-Quelle an einem der Eingangskanäle angeschlossen. Die Surroundkanäle von der Mehrkanalquelle umgehen dabei einfach den Vorstärker. Damit die Frontkanäle aber immer den richtigen Pegel im Verhältnis zu den Surroundlautsprechern haben, kann für den entsprechenden Kanal der Heimkino-Bypass aktiviert werden. Für diesen Kanal wird dann die Lautstärkeregelung am Preamp 14 deaktiviert und erfolgt stattdessen an der Mehrkanalquelle. Die Audiosignalverarbeitung bleibt dabei aber für die Frontlautsprecher in vollem Umfang erhalten. Diese Funktion lässt sich für jeden der 6 Eingänge am Preamp 14 aktivieren oder deaktivieren und fest speichern.Wird die Heimkino-Quelle am Eingang 1 angeschlossen kann das Signal außerdem passiv zum Ausgang durchgeschleift werden. Der Preamp 14 muss also gar nicht eingeschaltet werden, damit das Frontlautsprecher-Signal durchkommt. Allerdings erfolgt auch keine Signalverarbeitung und die Signalqualität wird durch die Ausgangsstufe der Quelle vorgegeben.
AroioOS Betriebssystem
Das Herz der Aroio-Streamer ist die ABACUS-eigene Firmware - das AroioOS Betriebssystem. Dieses Betriebssystem basiert auf einem Linux, das aufs absolut wesentliche reduziert wurde und in dem verschiedene Audio-Module einprogrammiert wurden. Das System basiert auf Open Source Software und steht als solche auch komplett frei zum Download zur Verfügung.
Als "Bedienungsanleitung" wurde das ABACUS-Aroio-Support-Forum eingerichtet, wo Schritt-für-Schritt-Anleitungen zu den meisten Anwendungsfällen bereitgestellt werden und diskutiert werden können.
Features:
Musik-Streaming mit eigener Infrastruktur - Aroio als Player, Logitech Media Server auf einem PC, einer NAS oder einem Musikserver als Quelle
Eigene Musiksammlung immer verfügbar
Internetradio
Streamingdienste als PlugIn
Mehrere Player spielen die gleichen oder unterschiedliche Inhalte ab
Von jeden PC im Netzwerk oder mittels Apps steuerbar
Airplay-Emulation für das direkte Streaming von iOS-Geräten
UPNP-kompatibler Modus für einfaches Streamen von Standard-Servern (z. B. Fritzbox-Medienserver)
Direktes Streamen aus einem Tidal- oder Qobuz-Account mittels passender App unter Android oder iOS
Künftig auch direkter Bluetooth-Empfang mit entsprechendem Bluetooth-Dongle
Direktes Streaming mit Roon durch LMS-Emulation
AroioOS Schnellstart - hilfreiche Links
Aroio Netzwerkverbindung herstellen, kabelgebunden oder kabellos (Anleitung als Forumsbeitrag)
Synology-NAS mit Logitech Media Server als Musik-Server einrichten (Anleitung als Forumsbeitrag)
Raumkorrektur mit Aroio und AcourateCV: Hinweise und Anleitungsvideo (ABACUS Website)
Webinterface aufrufen:
je nach Gerät: http://AroioEX/index.php, http://AroioSU/index.php, http://AroioLT/index.php oder http:///index.php.
Zugangsdaten für das Webinterface: Benutzername aroio, Passwort abacus.
Infrastruktur einrichten:
DiskStation (NAS) mit Logitech Media Server als Musik-Server einrichten (Anleitung als Forumsbeitrag)
Aroio als Bluetooth-Empfänger nutzen (externer Dongle erforderlich) (Anleitung als Forumsbeitrag)
Streamingdienste integrieren:
auf Aroio (verschiedene Möglichkeiten) (Anleitung als Forumsbeitrag)
auf Aroio (verschiedene Möglichkeiten) (Anleitung als Forumsbeitrag)
auf Aroio (verschiedene Möglichkeiten) (Anleitung als Forumsbeitrag)
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 Motown Tube Preamp
The year is 1966. Deep in the heart and soul of Detroit, a young, ambitious chief Motown engineer is tasked by legendary producer Berry Gordy to design a better way to record multiple guitar and bass instruments at once, with minimal bleed and no isolation. His solution: the 5-channel Motown input box – dubbed the “Motown guitar amp” by its creator. James Jamerson’s magnificent performances, as well as Dennis Coffey, Bob Babbit, Robert White, Joe Messina and many more, were captured through this circuit from 1966 to 1972, and now, the MTP-66 Motown Tube Preamp is available.
Newest in the series of Acme Audio Manufacturing’s line of faithful recreations of legendary Motown gear, this single-channel lunchbox preamp has been exactingly reborn using the original 1966 engineering schematics, and features an all-tube signal path, with hand selected tubes that drive a Cinamag output transformer. Besides being an instrument-to-line-level all-tube preamp, Acme Audio has added a microphone amp section that is also based on Motown Engineering’s original designs, featuring a fixed gain pentode with the Acme Audio/Triad input transformer. Other key features include adjustable input and output controls (not made available on the original,) giving you the ability to adjust your sound to the desired amount of drive and compression.
The opticom xla-3 is an all-tube optical limiter inspired by the classic Teletronix LA2A. Loving the la2a’s smooth natural compression characteristics but seeking to improve upon its single compression speed inspired us to develop the xla-3. The heart of the XLA-3 is a unique triple optoelectronic circuit that combines the best characteristics of 3 separate compression curves into a single unit. The result: a high-speed optical limiter with tones that range from ‘clean’ to ‘harmonically rich’ to ‘dirty.’
Main features:
All tube circuitry
High-speed cadmium-selenide (CdSe) photocells
Custom Bakelite analog control knobs
Full-sized backlit panel meters
15db switchable input pad
Hand-wired 2 stage bypass switch
Triple optoelectronic circuit
Cinemag input transformer
IEC power connector
115/230V AC Mains
Neutrik XLR input and output connectors
Stereo link connector
Micalex tube sockets
Acme Audio Mfg. Co. is proud to introduce the OPTICOM XLA-500. Taking inspiration from the acclaimed XLA-3, Acme Audio has painstakingly squeezed the XLA-3’s topology into a convenient two space 500 series module. The XLA-500 is a tube optical audio limiter designed to produce a full range of non-linear, dynamic audio effects.
The heart of the XLA-500 is a unique triple optoelectronic circuit that combines the best characteristics of three separate compression curves into a single unit. Combined with Cinemag input and output transformer and a class-A gain stage, the result is a high-speed optical limiter with tones that range from ‘clean’ to ‘harmonically rich’ to ‘dirty’; and compression curves that range from subtle and slow to very fast and aggressive.
The Opticom XLA-500 is the most versatile 500 series optical limiter on the market. Whether trying to gently control dynamic range on vocals, adding weight to a bass track, or even crushing a drum track – the XLA-500 can perform all of these tasks effortlessly and with great satisfaction to the user, and, ultimately, to the listener.
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
Features:
Two channels with 85dB of sweet, quiet, and mouthwatering JFET gain
High-frequency CurveShaper™ EQ and low frequency proximity control
68k ohm high-impedance circuitry providing better overall transients, frequency response, and higher output sensitivity
Post-Mic and Pre-EQ Inserts for convenient routing options
Switchable phantom-power and polarity invert
Made in the U.S.A.
Spec Overview:
Two-channel, high-gain, full-rack mic preamp
Ultra-high 68KΩ input impedance (phantom power off)
7 to 85 dB of gain
LF/HF boost and cut
EQ boost/cut, +/-20 dB (high range), +/- 10dB (low range)
EQ in/out switching (overall and individual bands)
+48V phantom
Polarity switch
Pre-EQ line out (always active)
Insert Switch input switching (line input bypasses mic preamp)
Linear power supply with external 115V/230V switching