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Rupert Neve Designs 551 Inductor EQ; 3-band inductor eq (500 series); low eq: +/- 15db shelf or peak, selectable for 35hz, 60hz, 100hz or 220hz; mid eq: +/- 15db with 6 center frequencies: 200hz, 350hz, 700hz, 1.5khz, 3khz and 6khz; with high; peak switches to amplify the q factor; hishelf: +/- 15db shelf or peak, selectable for 8khz and 16khz; locut: 12db / octave at 80hz; rupert neve custom transformer; Format: API Series 500 Rack

799 €
36 Instalments 27,58€ / month
Available in warehouse

Transient Designer Module The Transient Designer TDx brings level-independent dynamics processing to the world of the 500 Series. On/Bypass With On/Bypass you switch the module on or off (bypass). Signal LED The Sig LED (Sig) indicates whether an audio signal is present at the input and exceeds a level of -20 dB. This LED indicator is used as an aid to quickly identify whether a signal is arriving at the TDx in a complex studio cabling system. Attack Attack can be used to boost or cut the transient phase of a signal by up to 15 dB. Positive attack increases the amplitude of the transient response. Negative attack attenuates the amplitude of the transient response. Sustain With Sustain you can lengthen or shorten the decay phase of a signal by up to 24 dB. Positive Sustain extends the decay. Negative Sustain shortens the decay. Mix The mix control allows for continuous crossfade aka parallel mix between processed (WET) and unprocessed (DRY) signals. Output With the output control the output gain can be attenuated in order to optimally drive subsequent devices. The Differential Envelope Technology Our Differential Envelope Technology (DET) allows dynamic signal characteristics to be processed by forming the difference between envelopes and thereby making them level-independent. The envelope trackers align the working processes with the natural signal characteristics. This ensures optimum results for every moment.  Specifications:  Input & Output: balanced Maximum input & output gain: 21 dBu Input impedance: 20 kΩ Output impedance: 150 Ω Common mode rejection: > 82 dB Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (0 dBu, 10 Hz – 22 kHz): 0.03 % Noise (A-weighted): -92.3 dB Dynamic range: 113 dB Dimensions & Weight Unit weight: 0.65 kg Shipping weight (incl. packaging): 0.9 kg

236 €
36 Instalments 8,15€ / month
Upon Order

Dual-Band De-Esser Module Our well known De-Esser as a dual-band version built into a single module for the 500 Series. On/Bypass With On/Bypass you switch the module on or off (bypass). Signal LED The Sig LED (Sig) indicates whether an audio signal is present at the input and exceeds a level of -20 dB. This LED indicator serves as an aid to quickly recognize whether a signal is arriving at the DeS in a complex studio cabling system. Hi-S The Hi-S control adjusts the intensity of the S sound reduction in the upper frequency band. The center frequency for sibilance detection is 11.2 kHz with a bandwidth of 3 kHz. Lo-S The Lo-S control adjusts the intensity of the S sound reduction in the lower frequency band. Male/Female Voicing The Voice switch is used to adjust the low-band de-esser to the voice characteristics. The switch changes the center frequency for the sibilance identification: Female: 7.6 kHz, Male: 6.4 kHz. The processing bandwidth in the low band is 1.44 kHz. De-Esser Tech Talk De-Essing by Phase Cancellation SPL has developed a circuit technology that combines efficient de-essing with maximum ease of use. De-essing already during recording spares a lot of time in comparison to the subsequent search for the S-sounds in post production. The DeS automatically adjusts itself to the relevant frequencies and hones in on them so that only the range of the S-sound is processed and neighbouring frequencies remain untouched. This range is phase-inverted and mixed back into the original signal, which acoustically deletes the S-sound. The DeS therefore works unobstrusively and sound-neutral. Auto-Threshold The DeS features our Auto-Threshold which automatically adjusts the threshold if the input level fluctuates due to varying distance to the microphone which leads to fluctuating input levels. With Auto-Threshold engaged, the de-essing intensity remains constant at the value you set – a great help not only for untrained speakers/singers in the studio and live. With conventional de-essers using compressor technology, the processing intensity decreases as the distance to the microphone increases to which compressors or limiters then react by letting the S sounds reappear. The disadvantage of weaker de-essing – bad enough in itself – therefore also leads to undesired effects in the subsequent processing. Auto-Threshold prevents these disadvantages from occurring in the first place. Specifications: Input & Output: balanced Maximum input & output gain: 21 dBu Input impedance: 20 kΩ Output impedance: 150 Ω Common mode rejection: -82 dB Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (0 dBu, 10 Hz – 22 kHz): 0,03 % Noise (A-weighted): -92.3 dB Dynamic range: 113 dB Dimensions & Weight Unit weight: 0.65 kg Shipping weight (incl. packaging): 0.9 kg

236 €
36 Instalments 8,15€ / month
Upon Order

Our Frame 8 rack is handmade in the EU employing the same exact ISEP mechanical components used in the Series 80 consoles. Aluminium rails, guides, etc. This will ensure your vintage modules, as well as any of the currently made, will fit like a glove. Every channel has its own output control as well as illuminated phantom switch. Also, the Frame 8 is ready for linking up to 8 2264 compressors in 2 busses, A or B. Back panel features Neutrik gold plated XLR connectors for Mic and Line inputs, as well as outputs. External Power Supply Unit is connected via Neutrik gold plated 4-pin XLRs. It is configurable for 220-240v or 110v. Power supply is included.

1.923 €
36 Instalments 66,39€ / month
Upon Order

The 8173 module is a Heritage Audio´s new design, which has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. It is also compatible with the Heritage Audio Frame 8 and Rack 2 powered enclosures. The 8173 could be easily described as a 1073 with the mid bands of a 1081. We´ve decided to keep the 1073 Baxandall shelving lo and hi eq bands as they sound amazing, but have implemented a choice of 3 hi shelving frequencies, a la 1084. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements. The Heritage Audio 8173 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. All its circuitry is held into five plug in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for lo gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

2.645 €
36 Instalments 91,31€ / month
Available in warehouse

The Heritage Audio 2264E compressor limiter is a diode bridge based dynamics module, engineered to be used in the restoration process of vintage 80 Series consoles. It can also be installed in the Heritage Audio Frame 8 and Rack 2, where there is provision for linking up to 8 units in 2 different buses. It is fully Class A, including the same output stage found in the HA1073, which reacts in a much nicer way to compression than class A/B amplifiers. It is completely handmade and wired in the same fashion as the rest of the Heritage Audio 80 Series modules. Specifications: Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, 600 Ohms terminated. Maximum output: Greater than +26dBu, 600 Ohms terminated. THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz, at no gain reduction. Frequency response : 20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: 20dB. Maximum Power consumption: Less than 120 mA @+24VDC.

2.044 €
36 Instalments 70,57€ / month
Upon Order

The  6673 module is a Heritage Audio´s new design which has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. It is also compatible with the Heritage Audio Frame 8 and Rack 2 powered enclosures. The 6673 is a 4 band equalizer in a 1073 sized module, combining the mid band of the vintage 1066 module and an expanded 1073 mid band. This fact allows a more complex equalizing whilst at the same time maintaining the same sonic qualities. Vintage connoisseurs already know how sweet the 1066 mid band sounds and how well it complements the 1073´s one. Additionally the 6673 features three frequency´s options for the high shelf, as opposed to the fixed ones on both the 1073 and 1066, covering both. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements. The Heritage Audio 6673 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. All its circuitry is held into five plug in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for lo gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

2.645 €
36 Instalments 91,31€ / month
Upon Order

The Heritage Audio 1084 has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. It is also compatible with the Heritage Audio Frame 8 and Rack 2 powered enclosures. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements. The Heritage Audio 1084 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. All its circuitry is held into five plug in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for low gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

2.765 €
36 Instalments 95,46€ / month
Upon Order

The Heritage Audio 1073 has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. In case outboard fitting is preferred, the HA1073 can be installed into the Heritage Audio Frame 8 and Rack 2 powered enclosures. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and polypropylene film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements, which ensure correct harmonic distortion content and saturation points. The Heritage Audio 1073 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. Manufacturing a single module takes several days of one of our master builders. All its circuitry is held into four plug-in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for low gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

2.223 €
36 Instalments 76,75€ / month
Upon Order

A lot of preamps on the market do a good job of raising the volume of mics and instruments. Unfortunately, many pres are doing only that, raising volume.  The “Super clean” designs of today often leave the signal exiting the preamp sounding much the same as it did entering it.If you are looking for a preamp to improve and shape your signal you will most definitely love the WA12-500 MKII. The WA12-500 MKII is designed to transform plain instruments and vocals into exciting tone.  If your mixes lack depth, struggle to sound alive, or are just missing that professional touch you’ve always wanted, there is a good chance you will love the WA12-500 MKII.The WA12-500 MKII is a completely discrete, high voltage, dual-transformer microphone preamplifier design with high gain (+71dB), high headroom, low noise, and an exciting sonic performance – great for all types of recording applications.  A high quality mic preamp is one of the most critical pieces needed to achieve the elusive ‘larger than life’ sound, and the WA12-500 MKII is more than capable of delivering.  The WA12-500 MKII is based around a discrete op-amp, the X731, which is our own reproduction of the vintage classic Melcor 1731, considered by some to be the warmer predecessor to the modern 2520-style op-amp.  The X731 can achieve vibrant, clean and lifelike tones; but can also be driven into mild saturation at much higher gain levels.  The effects can be subtle, but very pleasing to the ear.  The WA12-500 MKII can also accept any discrete op-amp on the market that conforms to the +/-16v, 2520 pinout standard.  Specifications:Utilizes premium grade input and output USA CineMag transformers.71db of Gain, fully discrete signal path.Utilizes a discrete 6-pin socketed 1731 style opamp.  Can be replaced with other 6-pin "2520 foot-print" opamps for varying tone/flavor.TONE button – Switches the input impedance from 600 ohms to 150 ohms.  Changes the tone of both the mic and HI-Z inputs.2 Meg Ohm True HI-Z input on front panel. Sends instrument signal through entire circuit including both Cinemag Transformers and the discrete opamp. Great for guitars, bass, keyboards and other instruments that have a 1/4″ output jack.48 volt Phantom Power.Output attenuation control (after the CineMag output transformer) allows for driving the preamp and transformers into saturation.LED Meter gain indication.20db pad.​  

354 €
12 Interest Free Instalments 29,50€ / month
Upon Order

The API 512v is a mic / line / instrument preamp, world famous for its ability to provide a low noise (-129 EIN) and unusually good sounding front end for all types of audio applications. Sonically, it delivers the instantly recognizable API sound at an affordable price, and in the scalable API 500 Series format. Offering an impressive 65 dB of gain, the 512v includes front panel Variable Output control, switchable 3:1 output transformer selection, phantom power, switchable polarity, -20 dB pad, and Mic or Instrument/Line selector. The front panel Combo-style XLR and 1/4 inch connector combined with rear panel mic access allows for additional flexibility when installed into an API lunchbox®, API's 10 position 500V vertical rack, or into an API console.The API 512v remains faithful to the circuit designs of API's founder Saul Walker. Artfully combining those circuits with API's proprietary transformers and the incomparable 2520 op-amp, the 512v is a highly musical and rich-sounding analog mic pre, equally at home in commercial recording spaces as it is in smaller home studios. Fully featured and still hand assembled, the 512v exhibits the reliability, long life, and uniformity which are characteristic of all API products. SpecificationsMic Preamp with 65 dB of gainVariable Output Level Control3:1 Output Transformer Tap SelectionFront and Back Panel Mic Input AccessLine/Instrument Preamp with 45 dB of gainFront Panel Combo-style XLR + 1/4 inch Line/Instrument InputLED VU meter for Gain Level indication20 dB pad switch, applies to mic/line/instrument48v Phantom switchable powerTraditional API fully discrete circuit design with 2520 Op AmpFeatures API's unique Five Year Warranty

1.292 €
12 Interest Free Instalments 107,67€ / month
Upon Order

Take Your Whole 500 Series Rig on the Road!Pack up and go with eight of your favorite 500 Series modules in this API 8-slot lunchbox. The 8-slot lunchbox offers a consistent 250mA across all eight slots, providing full compatibility with API 500 Series and VPR-approved modules. Onboard, you'll find all of the things that made the 6-slot (500-6B) chassis such a hit, such as DB-25 D-Sub connectivity for easy I/O and simple cabling, Phantom Power for condenser mics, and a rubber carrying handle, which you can swap for an optional rackmount kit (which you can get here at Sweetwater) for permanent installation. And, as an added bonus, the 8-slot lunchbox even includes toggle switches that allow you to conveniently link channels.API 8-slot lunchbox 500 Series Chassis Features:A handy and highly portable 8-slot 500 Series rackAll 8 slots consistently deliver 250mA of powerFully compatible with API 500 Series and VPR-approved modulesDB-25 connectivity on rear panel keeps your I/O tidy and offers grab-and-go conveniencePhantom Power supplied for each slotToggle switches let you effortlessly link channelsRubber feet and carrying handle provide amazing portabilityRugged steel chassis makes this lunchbox truly road worthyOptional Rack Ears available for rack mounting

699 €
12 Interest Free Instalments 58,25€ / month
Upon Order

10 slot Rack with Power Supply. The API Model 500VPR is powered externally by a tri-polar power supply and is designed to accept API standard format 5.25" X 1.5" modules. The 500VPR is internally wired for PIN 2 hot, and comes with the API L200PS. The input/output jacks are both XLRs. The 500VPR can hold up to ten API modules. API makes several modules to fit this rack, including the 550A, 550B, 560, 525, and 512C. Like all API products, the 500VPR rack enjoys API's standard 5 year warranty.

1.220 €
12 Interest Free Instalments 101,67€ / month
Upon Order

The API Model 500-6B Lunchbox is a six position rack designed to accept all API standard 5.25" X 1.5" modules. This allows an engineer the flexibility to bring along specialized EQ effects to any situation: 550A, 550B or 560. The Lunchbox is self-powered, with a rear panel selected AC voltage switch, and a removable power cord. The input/output jacks are XLR. The Lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512C. API makes several modules for the 500-6B, such as the 512C mic preamp, the 525 compressor, the 560 Graphic EQ, and the 550B four band EQ. Combinations of these modules make perfect stereo recording packages (two 512C's and two 550B's) or vocalist's box, (one 512C, two EQ's and one 525 compressor).         FeaturesHolds 6 API standard modules48 Volt internal phantom power supplySelf-Powered, 100 to 250 Volts, 47 to 63 Hz, SwitchableRubber feet & carrying handle for portabilityRugged steel chassisPerfect for remote recording of Vocalist and InstrumentsOther uses for the versatile Lunchbox include:Multitrack Recording of Acoustic and Electronic Audio Sources.Sound Reinforcement Systems and Recording Live to Multitrack formats.Multiple facility projects where portability is a plus.Broadcast and Audio for Video Production.Custom Channel Input Strips.

845 €
12 Interest Free Instalments 70,42€ / month
Upon Order

The API 512C is a mic/line/instrument preamp designed to provide a low noise, unusually good sounding front end for all types of audio systems. Sonically, it is at the top of the "Mic Preamp List", regardless of price. Offering low noise (-129 EIN) and 65 dB of gain, the 512C includes phantom power, switchable polarity, -20 dB pad and Mic/Line or Instrument selector.  Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed in an API LunchBox, Six Pack, 10 position vertical rack, a 2 position horizontal rack, or an API console. What makes the API 512C unique is its long evolution from the original 1967 era 512, the first modular mic pre, to the current full featured 512C, while preserving the original sound character that made it so much a part of the early days of recording. Offering high headroom and a wide variety of inputs and input access ponts, it is ideal for unusual and demanding applications.        FEATURESMic Preamp with 65 dB of gainFront and Back Panel Mic Input AccessLine/Instrument Preamp with 50 dB of gainFront and Back Panel Line/Instrument InputLED VU meter for monitoring output level20 dB pad switch, applies to mic/line/instrument48v Phantom switchable powerTraditional API fully discrete circuit designUses the famous API 2520 Op-Amp

999 €
12 Interest Free Instalments 83,25€ / month
Upon Order

Discrete Compressor, Re-Issue. Originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output.  A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever. The API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA "feed forward" compressors so common today. A remarkable multi-function "ceiling" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.        FEATURESReissue of API's original 525 from the early 70'sPeak detecting "feedback" compressor/limiterVariable Threshold and Output levelsUnique "Ceiling" control combines key functionsVU meter for monitoring gain reduction4 Switchable release modesDe-Ess functionTraditional API fully discrete circuit designHardwire bypass

1.498 €
12 Interest Free Instalments 124,83€ / month
Upon Order

Few equalizers enjoy the respect and admiration of the coveted API 550A. Designed by the now legendary Saul Walker in the late 60's, the discrete 550A was first used as a modular OEM equalizer. As the industry rapidly embraced the sonic quality of the 550A, it quickly found it's way into many custom console designs by Frank DeMedio and other leading engineers. Many of these consoles are still in use today.Forty years later, the 550A remains the standard against which other EQ's are measured, and it has played a major role in the recording industry for decades. Still copied but never duplicated, the 550A became API's standard channel module EQ when the company began manufacturing consoles in 1971. With virtually all existing units spoken for, popular demand for this EQ resulted in API finally resuming production in 2004.With the long-awaited reissue of this unit, an EQ that has had such a part in the history of recording is continuing to make history in today's music.         FEATURES3 bands of classic API equalization Each band offers 5 API selected frequency centers Reciprocal and repeatable filtering maximum 12 dB of boost/cut per band EQ Band 1 and 3 offer shelf/peak switching "Proportional Q" narrows filter Q at extremes Traditional API fully discrete circuit design High headroom +30 dB clip level

1.508 €
12 Interest Free Instalments 125,67€ / month
Upon Order

The API 550 EQ played a major part in the history of music recording in the USA during the 60's and 70's. Originally conceived for use in API's consoles, this latest 550 "B" version is a continuation of the original 1967 550 through the 550A with one additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 op-amp), the 550B artfully blends the past with the present. So many hit records still depend on the unique 550 sound, that the 550B will be an invaluable tool you will turn to again and again. The API 550B—unlike any other you will ever use.Many EQ's today offer a huge assortment of complex features, but the API 550B provides exactly the right number of controls to the professional engineer. Deceptively simple at first glance, the 550B's four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device. Each band offers 7 switchable filter frequencies spanning 4 to 5 octaves, selected through experience by a "who's who" list of the industry's most proficient engineers. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.Features: 4 bands of our famous sounding equalizationEach band offers 7 API selected frequency centersReciprocal and repeatable filtering12 dB of boost/cut per bandEQ Band 1 and 4 offer shelf/peak switching"Proportional Q" narrows filter Q at extremesTraditional API fully discrete circuit designHigh headroom +30 dB clip levelRe-issue of 1967 API 550 EQ with an extra band

1.554 €
36 Instalments 53,65€ / month
Upon Order

The Tone Beast is a great mic pre with loads of gain that can effortlessly capture an array of sources very well. With top notch CineMag transformers and multiple discrete signal paths, it's hard to beat its big, bold, fully-professional sound at its price.The Tone Beast is a mic pre that likes to be pushed and when pushed will colorize your signal ever so sweetly. The 2 opamps and 2 output transformers at the flip of their switches won't appear to be much different, but as one drives the pre into harmonic distortion, the unique character of each of these components becomes apparent. Additionally the Tone Beast is customizable and allows for other opamps to be sourced and easily swapped into the unit. I've pulled my best tones from this pre right at the saturation point (as loud as I can push the gain before clipping). The output control on the TB12 allows you to limit the signal exiting the preamp even when pushing the gain to really hot levels, giving you maximum control.Specifications:Utilizes premium grade CineMag USA Transformers.71db of gain.Transformer selection provides both Steel and 50% Nickel CineMag output transformers for varying character.Transformer bypass switch allows for removal of the output transformer from the circuit.Discrete Opamp selection allows for choosing between a 1731(vintage) and 918(cleaner) style .opamp.  These are socketed/swappable with your choice of 2520 6 pin footprint opamps.Impedance switch labeled TONE to switch between 150 and 600 ohms input impedance.  Changes the Tone of all inputs (Mic, Line and Hi-Z.).2 Meg Ohm True HI-Z input on front panel sends instrument signal through entire circuit including both Cinemag Transformers and the discrete operational amplifier. Great for guitars, bass, keyboards and other instruments that have a 1/4″ output jack.Capacitor selection between Tantalum and Electrolytic for different characters.80hz hipass filter.Polarity Reverse.+48V phantom power.Output attenuation allowing for saturation flexibility of both the opamps and transformers.¼" insert for the use of inline compressors, eq's etc.Balanced XLR mic, balanced TRS line, and ¼" instrument inputs.-20db Pad.LED VU Meter.Compatible with standard 500 series racks.​​

536 €
12 Interest Free Instalments 44,67€ / month
Upon Order