Outboard & FX

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!

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.

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

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

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

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

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

AEA RPQ500 Module The RPQ500 module, designed after the successful RPQ preamp, provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, in a 500 series package. The RPQ500 has been enhanced with additional features, turning it into a workhorse tool for your API 500 compatible rack. The preamp delivers the bandwidth and quietness needed for high resolution recording. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The input impedance of 10,000 Ω means the RPQ500 will not load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance.  The CurveShaper™ offers a natural option for sculpting your sound right at the start of the signal path. Switchable and tunable low frequency (LF) and high frequency (HF) controls allow you to tame proximity problems and provide HF extension and slope control. The high-frequency CurveShaper™ excels at adding a touch of air or presence, and the low-frequency control can remove boxiness and boominess in a fast and unobtrusive way. The bottom line is a versatile channel strip that will deliver an unadulterated performance in any application. The Line/Mic switch bypasses the microphone gain stage and allows the EQ to be used for tracking with other preamps or during mixdown. Add the output level control and the RPQ500 becomes a high-quality processing tool that can be used for mixing and mastering when combined with summing racks and mixers such as the Purple Audio Moiyn or the Roll Music Folcrom.  The original RPQ with CurveShaper™ was designed to fully capture every nuance of ribbon microphones: vintage or modern, passive or phantom-powered. Engineers have discovered that the RPQ also complements their moving coil, tube and solid-state mics. By virtue of its sonic qualities and versatility, the AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is needed.   Link: Wes Dooley, founder of AEA, talks about Studio Mic Pre Standards in the 50's

AEA RPQ500 Module The RPQ500 module, designed after the successful RPQ preamp, provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, in a 500 series package. The RPQ500 has been enhanced with additional features, turning it into a workhorse tool for your API 500 compatible rack. The preamp delivers the bandwidth and quietness needed for high resolution recording. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The input impedance of 10,000 Ω means the RPQ500 will not load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance.  The CurveShaper™ offers a natural option for sculpting your sound right at the start of the signal path. Switchable and tunable low frequency (LF) and high frequency (HF) controls allow you to tame proximity problems and provide HF extension and slope control. The high-frequency CurveShaper™ excels at adding a touch of air or presence, and the low-frequency control can remove boxiness and boominess in a fast and unobtrusive way. The bottom line is a versatile channel strip that will deliver an unadulterated performance in any application. The Line/Mic switch bypasses the microphone gain stage and allows the EQ to be used for tracking with other preamps or during mixdown. Add the output level control and the RPQ500 becomes a high-quality processing tool that can be used for mixing and mastering when combined with summing racks and mixers such as the Purple Audio Moiyn or the Roll Music Folcrom.  The original RPQ with CurveShaper™ was designed to fully capture every nuance of ribbon microphones: vintage or modern, passive or phantom-powered. Engineers have discovered that the RPQ also complements their moving coil, tube and solid-state mics. By virtue of its sonic qualities and versatility, the AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is needed.   Link: Wes Dooley, founder of AEA, talks about Studio Mic Pre Standards in the 50's

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

Die AEA Snaqbox ist ein hochwertiges 2-Slot-500-Series-Chassis, das speziell für professionelle Studioanwendungen und mobile Recording-Setups entwickelt wurde. Sie bietet eine kompakte und zugleich leistungsstarke Plattform für den Einsatz von 500-Series-Preamps, EQs, Kompressoren und weiteren Signalprozessoren. Besonderes Augenmerk wurde auf eine saubere und stabile Stromversorgung gelegt. Die Snaqbox verfügt über separate duale Linearregler für jeden Slot, wodurch eine vollständige Stromisolation gewährleistet wird. Dies minimiert Nebengeräusche und verhindert Störungen zwischen den eingesetzten Modulen. Das Chassis ermöglicht flexibles Signalrouting und schafft optimale Betriebsbedingungen für professionelle Audiomodule. Die hochwertige interne Konstruktion trägt dazu bei, Signalverluste zu vermeiden und einen rauscharmen Betrieb sicherzustellen. Gefertigt aus robustem Stahl, ist die Snaqbox sowohl für den festen Studioeinsatz als auch für mobile Anwendungen ausgelegt. Die markanten Acryl-Seitenteile – wahlweise transparent oder fluoreszierend orange – verleihen dem Gerät ein unverwechselbares modernes Design. Durch die Kombination aus hochwertiger Technik, zuverlässigem Power-Management und kompakter Bauweise ist die AEA Snaqbox eine ideale Lösung für Toningenieure, die ein leistungsstarkes und optisch auffälliges 500-Series-Chassis suchen.

Die AEA Snaqbox™ ist ein transparenter, zweikanaliger 500-Series-Rahmen mit separaten, doppelt linearen Spannungsreglern für jeden Kanal, die eine vollständige Stromisolation zwischen den 500-Modulen gewährleisten. Das Gerät wird von einem externen Schaltnetzteil betrieben, um Schaltgeräusche vom Gerät fernzuhalten.

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