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.
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 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
Features:
Two channels with 85dB of sweet and quiet JFET gain
Switchable phantom-power, polarity reverse, and high-pass filter
63k ohm high-impedance circuitry providing better overall transients, frequency response, and higher output sensitivity
Optimized for ribbon mics, condensers, and dynamics
Switching power supply for easy use in any country
1U half-rack with optional hardware for mounting one or two units together
Features:
Two-channel, high-gain, half-rack mic pre
Ultra-high 68KΩ input impedance (phantom power off)
7 to 85 dB of gain
48V phantom and polarity switch
HPF switchable -3dB at 115 Hz or 230 Hz
External PSU
Optional rack ears (for one unit) or rack shelf (two units) for mounting purposes
The latest addition to the Neve outboard range, the 1073DPA provides two of the world famous Class A Neve 1073 microphone pre-amplifiers. This classic design is the consummate mic pre for recording vocals, guitars and acoustic instruments of all descriptions. The sought after Neve Sound is now available in a cost effective 1U box.Classic Neve 1073 Mic Pre circuitaffordable classic Neve soundHand crafted by Nevesingle U rack mount unitphase reverse switchhigh quality input selector switch Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
AMS Neve 1073 DPDTwo Legendary 1073 Mic Preamps with 192kHz Digital OutputThe 1073DPD combines two of our world-famous Class A Neve 1073 microphone preamplifiers with flexible 192kHz digital output capabilities, for modern recording environments – all in a single rackspace. This classic design is the consummate mic pre for capturing vocals and musical instruments, with the added convenience of direct output to hard disk recorders or computers, thanks to the high-quality Neve-designed analogue-to-digital converters.For those who don’t already know its legacy, the big, punchy sound of the mic 1073 preamp complements any musical genre, from rock to pop, hip-hop to rap, thrash to classical. Its lush sound with classic Neve signature makes it the consummate mic pre for recording vocals, guitars, and all acoustic instruments.With the 1073DPD, two Neve 1073 mic preamplifiers are complemented by superb Neve-designed analogue-to-digital converters that can capture a performance in any required format. In addition to Neve's famous Class A analogue, outputs are a series of digital options, including all standard PCM sampling rates up to 192kHz, selectable via convenient front-panel controls. A unique feature is the Neve DSD (Direct Stream Digital) output, providing unsurpassed quality beyond PCM technology.Despite its power, the 1073DPD is remarkably simple to operate. Two rear-panel Mic inputs and Line inputs feed dual Class A gain stages, with adjustable Gain control and selectable 48V available on the Mic inputs. Class A analogue outputs in XLR format are also found on the rear panel, controlled via adjustable front-panel ±10dB Trim controls. Analogue insert points are provided ahead of the A/D converters, ensure the classic Neve sound is retained.The combination of legendary analogue circuitry and superior digital quality makes the 1073DPD the obvious choice as a front-end for recording to digital workstations.Features: Two legendary 1073 microphone preamps in a convenient 1U rackmount design Superior Neve-designed analogue-to-digital 24-bit converters 192Khz operation with DSD conversion, selectable via front-panel controls Dedicated input Gain controls and output Trim controls on both channels +48V Phantom Power and Phase Reverse switch High quality Input Selector switch Neve designed transformers for inimitable Neve sound Hand-crafted and hand-wired by Neve in Burnley, UK
Launched in 1970, the Neve 1073 Classic soon became the first choice mic preamp for leading producers and artists. Found on some of the most famous recordings of the past 40 years, the big, punchy sound of the 1073 complements any musical genre – from rock to rap to classical. The quality is legendary. Designed and built in England, the modern-day 1073DPX is produced to the exact specifications of the original with matched components to ensure the sound remains true.
The 1073DPX has two channels of Neve 1073 Class A design microphone preamplifiers, each with 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and high pass filter, adding warmth and depth to recordings, bringing out subtle ambience, maintaining spatial positioning, and capturing a more precise image – embodying, think many engineers and producers, the essence of the genuine Neve sound.
Building on the 1073 classic module features, the 1073DPX introduces extra functionality with integrated DI input, phantom power, selectable Insert feature, level meters, selectable headphone monitoring and I/O connectors on each channel for easy and direct connection of microphones and instruments. The 19” rack-mount 2U unit includes an external multi-voltage PSU
2 independent, genuine Neve 1073 transformer-coupled microphone preamplier / EQ circuits, in a single 2U 19" rack mount enclosure
Exclusive Neve Marinair™ transformers used on each input and output stage.
Convenient connections for Mic, Line & DI inputs on front of unit, with switchable mic/line input connections on the rear of the unit
Switchable +48v Phantom Power, Hi/Lo impedence, -20dB pad and DI ground lift on the input stage
Switchable Phase, and EQ in/out
Insert send and return loop feature allows external equipment to be connected easily to the 1073DPX audio chain, such as mono/stereo limiter/compressors;
Pre-EQ insert send/return - a line level send is available from the mic-preamp output stage and a return just before the EQ stage
Post-EQ insert send/return - a line level send is available from the post-EQ stage and a return just before the main output stage
Independent channel output level controls
7-stage LED signal level meters for each channel - can show mic/line/DI input-stage level, EQ-stage level or output-stage level up to +24dB
Headphone output with adjustable volume control, can listen to channel 1, channel 2 or both channels combined
External multi-voltage PSU
Launched in 1970, the Neve 1073 Classic soon became the first choice mic preamp for leading producers and artists.
Found on some of the most famous recordings of the past 40 years, the big, punchy sound of the 1073 complements any musical genre – from rock to rap to classical. The quality is legendary.
Designed and built in England, the modern-day 1073N is produced to the exact specifications of the original, matching components to ensure the sound remains true. The Class A design 1073N microphone preamplifier has 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and a high pass filter. The Neve 1073N mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and captures a more precise image – embodying, think many engineers and producers, the essence of the Neve sound.
Building on the 1073 classic module features, the 1073N introduces extra functionality with an integrated DI input, I/O connectors for direct connection of microphones and instruments and other equipment, phantom power for powered microphones and a PSU for standalone use. It can also be fitted into compatible racks/housings or retrofit into 80 Series Neve Classic consoles. Neve – no question.
The 1073OPX continues the 1073® lineage through to the new generation, packing eight legendary preamps into a 2U rack unit. Front-mounted XLR/TRS connection and rear D-type give ultimate connectivity to any Studio/Live/Broadcast environment and its modern remote-control software gives two-way control over its features and Total Recall® of all settings.
Microphone & Line sources benefit from the Marinair® transformer-coupled input stage and Instrument sources can be connected directly to the front-mounted D.I input for recording in the studio control room. The 1073OPX’s unique Analogue monitor signal path allows for use as a complete standalone I/O interface or as a live room remote preamp with full latency-free monitoring cue mix signal path.
Its new, powerful digital card comes with Neve’s industry-revered mastering-grade converters. This option gives up to 192kHz/24-Bit A/D conversion over USB connection for use as a Primary Audio Interface to any connected DAW-enabled computer as well as Primary and Secondary Dante® connectivity for a multitude of Audio-over-IP applications. The 1073OPX modern, elegant hardware and software design takes the classic Neve sound into the future.
The 1073OPX Digital Option
The 1073OPX Optional Digital card provides a USB and Dante AD/DA interface with eight channels of analogue to digital conversion for each 1073OPX preamp output and two channels of Digital to Analogue conversion for the digital monitor return signal path. The USB connection allows the 1073OPX to be connected to a DAW enabled PC/MAC computer to be used as a Primary/Core audio interface. In addition to the USB connection, Primary and Secondary Dante connections allow for the 1073 OPX to be connected to any Dante Audio-Over-Ip network as a Dante enabled preamp. The Digital card can be retrofitted easily to any existing 1073OPX units.
Features:
8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers
Exclusive Neve® Marinair® transformers on the Microphone input
Class-A transformer-less DI input
Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)
Automatic Total Recall™ of all settings
Front Mic/Line combi input
Rear Mic/Line D-Type connection
80Hz High pass filter
-25dB pad
Phase flip
Smart Phantom Power control
Hi/Lo Impedance selector from 300Ω to 1.3KΩ
Separate stereo monitor path with Independent level control
Latency-free monitoring of all signal sources
Eight front D.I inputs for instrument tracking
Front-mounted Headphone output
Digital Option containing:
USB connection for use as a standalone primary audio interface/core audio device
Dante Primary and Secondary connection for Audio-over-IP application
Word Clock Sync In/Out
electable Headroom from +18, +24, +26dB
The quality is legendary. Designed and built in England, the modern-day 1073SPX is produced to the exact specifications of the original with matched components to ensure the sound remains true.
The 1073SPX has a Neve 1073® Class A design microphone preamplifier, with 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and high pass filter. Building on the 1073 classic module features, the 1073SPX introduces extra functionality with integrated DI input, phantom power, selectable Insert feature, level meters, output level control and front input connectors for easy and direct connection of microphones and instruments. The 19” rack-mount 1U unit includes an external multi-voltage PSU
An optional Digital I/O module (to be announced early 2018) can be fitted into the 1073SPX and provides digital connectivity at a range of sample rates. Mastering-grade converters are used and the simple configuration and convenience of digital connectivity make the 1073SPX the ultimate front-end for capturing the best possible recordings.
Features:
Genuine Neve 1073 transformer-coupled microphone preamplifier / EQ circuit, in a single 1U 19" rack mount enclosure
Exclusive Neve Marinair™ transformers used on input and output stages
Convenient connections for Mic, Line & DI inputs on front of unit, with switchable mic/line input connections on the rear of the unit
Switchable +48v Phantom Power, Hi/Lo impedance, -20dB pad and DI ground lift on the input stage
Switchable Phase, and EQ in/out
Insert send and return loop feature allows external equipment to be connected easily to the 1073SPX audio chain, such as mono limiter/compressors;
Pre-EQ insert send/return - a line level send is available from the mic-preamp output stage and a return just before the EQ stage
Post-EQ insert send/return - a line level send is available from the post-EQ stage and a return just before the main output stage
7-stage LED signal level meter - can show mic/line/DI input-stage level, EQ-stage level or output-stage level up to +24dB
Output level control
External multi-voltage PSU
Optional Digital I/O module
The classic original EQ/Mic Pre has been re-released!Neve Outboard equipment is faithfully reproduced to the exact standards that Neve has employed ever-since the first modules were made, including the original Neve specifications for all components, design, manufacture and test.
AMS Neve Air Mono Mic Pre Module (Blue)The Neve 1081R makes an ideal alternative for engineers looking to deliver the Neve sound quality, without investing in a new console. The rack can be positioned remotely and controlled by a PC making it ideal for both studio and live recordings. This system consists of a micro processor controlled 12 way rack and a choice of three mic pre-amplifiers, the 1081, 1073 and Air Montserrat (from the vintage Air Montserrat console). By selecting a combination of these three mic pre-amp designs, engineers have the flexibility to record classical music, pop, rock and roll or any required sound. The Air mic pre is the optimum choice for ambient mic techniques. The 1081 offers a perfect response to close micing techniques and the 1073 provides a unique class A sound. The 1081R rack is connected to a PC by means of a 9 pin serial control cable via an RS232 to RS485 converter. The settings for the 1081R channels can be saved to and loaded from the PC. Operational settings such as gain, phase & 20dB pad can be controlled either from the rack itself or more commonly, via the interface screen.
1.299,00 €*
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