"500 Series" Microphone Pre-Amps

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500 Series Mic Pre's/EQ

500 Series Spectacular! - Buy the modules and get 'em racked!

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The A Designs “EM Series” is a twist on the P-1. Each color has its own sound. This was accomplished by using different custom wound output and input transformers is equipped with a “Nickel” custom wound output transformer. This translates into “Highs” which will produce a much more airy top-end-ish tone. Used with a “dark” sounding microphone or a alto vocalist it can produce a “heavenly” sound. You will also find this pre useful for recording a snare drum for a “crisp crack” sound. And if you use the DI Feature you just might want to hear what an electric guitar sounds like going thru the nickel transformers. As with all the A Designs Audio modules, there is a -20dB PAD Switch. So, to get down and dirty with an electric guitar you will want to pad your input and crank the gain for a slight growl.
 
All of the A Designs Audio module pres have the following Features:<UL>

<LI> -20dB Pad
<LI>Phase
<LI>48v Phantom
<LI>Cast aluminum knob
<LI>Thumb Screws (for easy install and un-install)
<LI>Solid construction
<LI>Custom Wound Transformers (input and output)
<LI>Original Design (no CLONES)
<LI>Red LED indicator for Phantom power</UL>
 
When developing our product(s) A Designs Audio feels the need to place units into the hands of both the professional and the average end user. In doing so, we have learned from their experiences and they have passed valuable information on to us. This helps us to produce a product with pride of craftsmanship and knowing we helped, in some way, to continue to inspire the art of creating and recording. So, no matter what your needs are for recording the perfect sound, A Designs Audio can help you by providing a solid tool to contribute to the job.
 
Check out these Quicktime Movies to SEE and HEAR A Designs in action! 
Right click to save

<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Sax.mov" target="blank">Recording Saxophone with A Designs Pacifica and EM-PEQ</a>

<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Piano.mov" target="blank">Recording Piano with A Designs Pacifica and EM-PEQ</a>
 
<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/Dylan_AcousticGuitar.mov" target="blank">Recording Acoustic Guitar with A Designs Blue and Hammer</a>
 
<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_MaleVox.mov" target="blank">Recording Male Vocals with A Designs Pacifica</a>
 
<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_FemaleVox.mov" target="blank">Recording Female Vocals with A Designs Hammer</a>
 
<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/Dylan_JCM800.mov" target="blank">Recording Electric Guitar with A Designs Hammer</a>

A Designs Audio EM-Blue
Single Channel EM-Series MicPre/DI Card - Blue

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The A Designs EM-Gold is the latest pre-amplifier of the EM Series.
 
A Designs took the custom wound output transformer of the EM-Silver and combined it with the custom wound input transformer of the EM-Red.
 
The results here made for the perfect sound on a floor tom!
 
It also produced great results with a number of microphones for vocals, Bass, and MP3/Drum Machines.
 
We can say that the EM-Gold produces the dark end of the EM-Silver with more “up front” mids.
 
 
All of the A Designs Audio module pres have the following Features:<UL>

<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Sax.mov" target="blank">Recording Saxophone with A Designs Pacifica and EM-PEQ</a>

A Designs Audio EM-Gold
Single Channel EM-Series MicPre/DI Card - Gold

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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 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 R52 manufactured by Avedis Audio Electronics.
 
Check out these Quicktime Movies to SEE and HEAR A Designs in action! 
Right click to save

<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Sax.mov" target="blank">Recording Saxophone with A Designs Pacifica and EM-PEQ</a>

A Designs Audio EM-PEQ 500 Series Card
500 Series module that sonically nods to the classic Pultec EQP-1A sound

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The A Designs “EM Series” is a twist on the P-1. Each color has its own sound. This was accomplished by using different custom wound output and input transformers comes with a 50/50 output transformer. A Designs Audio added a little kick to this one by changing the “Input Transformer,” as well. The results translates into more “Up Front Mids”! You may find this very useful when recording acoustic guitar with a condenser microphone.

As with all the A Designs Audio modules, there is a 48v Phantom Power Switch. With all the new condenser microphones on the market in a very wide price range, the engineer or musician now has limitless possibilities to choose from in their endless search for their “perfect sound.” You may also like to use the EM-Red for recording Toms, both rack and floor.
 
All of the A Designs Audio module pres have the following Features:<UL>

<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Sax.mov" target="blank">Recording Saxophone with A Designs Pacifica and EM-PEQ</a>

A Designs Audio EM-Red
Single Channel EM-Series MicPre/DI Card - Red

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The A Designs “EM Series” is a twist on the P-1. Each color has its own sound. This was accomplished by using different custom wound output and input transformers. 
  
The EM-Silver has a custom wound steel output transformer which will translate into a darker sound than the P-1, EM-Red, and EM-Blue. We find the EM-Silver to be a very good match with “Ribbon Microphones”. This is a good combination due to the fact that steel transformers were widely used in the early days of recording and broadcast along with ribbon microphones. 
 It depends on which ribbon you have or use which will determine the sound/color/flavor you will receive. With today’s influx of ribbon microphones there is a wide choice of character range available for you to determine which tone you are looking for or need. Another feature of the EM-Silver is a “DI” (direct inject) for use with electric instruments. We find that this is a great pre for Bass Guitar and Keyboards. Also, you may like to try the EM-Silver (depending on microphone) for your “kick” when recording drums! This is a very versatile tool for any recording situation.
 
All of the A Designs Audio module pres have the following Features:<UL>

<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Sax.mov" target="blank">Recording Saxophone with A Designs Pacifica and EM-PEQ</a>

A Designs Audio EM-Silver
Single Channel EM-Series MicPre/DI Card - Silver

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A Designs Audio is proud to introduce a new line of microphone pre-amplifiers. These Pre-amplifiers are original designs stemming from our inspiration of the “Quad Eight Sound”. Each has its own unique character. Depending on which microphone you use, you will be able to open a world of color and sound to inspire you and your recordings.
 
The P-1 is based on our highly successful Pacifica.
 
All of the A Designs Audio module pres have the following Features:<ul>

<li> -20dB Pad
</li><li>Phase
</li><li>48v Phantom
</li><li>Cast aluminum knob
</li><li>Thumb Screws (for easy install and un-install)
</li><li>Solid construction
</li><li>Custom Wound Transformers (input and output)
</li><li>Original Design (no CLONES)
</li><li>Red LED indicator for Phantom power</li></ul>
 
When developing our product(s) A Designs Audio feels the need to place units into the hands of both the professional and the average end user. In doing so, we have learned from their experiences and they have passed valuable information on to us. This helps us to produce a product with pride of craftsmanship and knowing we helped, in some way, to continue to inspire the art of creating and recording. So, no matter what your needs are for recording the perfect sound, A Designs Audio can help you by providing a solid tool to contribute to the job.
 
Check out these Quicktime Movies to SEE and HEAR A Designs in action! 
Right click to save

<a class="bluelinks" href="http://techbreakfast.com/SoundCity/ADesigns_finalwebs/RCM_Sax.mov" target="blank">Recording Saxophone with A Designs Pacifica and EM-PEQ</a>

A Designs Audio P-1
Single Channel 500 Series Compatible Mic Pre/DI Card

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AL.SO Modual Series MDI²
Dual Channel Guitar/Bass DI - "500 Series" Format

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AL.SO Modual Series MP²
Dual Channel Mic Pre - "500 Series" Format

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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.
Imagine a situation where only a few preamps are needed, yet the smallest available console has a proportonally "small" mic preamp, making it useless for the demanding application, or conversely, imagine where you need a large number of preamps, and a console of sufficient inputs and quality would be too large to transport or rack mount. The 512C hits the spot with its quality and famous tone. Expand, combine or downsize at any time without trade-ins or product obsolescence. In addition, the 512C's sound and performance exceeds most "console mic pres" in every respect.
The beauty of the entire API 500 Series is its long term flexibility and lasting value when needs change over time. With a range of mounting frame options, the 512C will be a valuable asset to your performance critical applications.
The 512C Mic/Line Preamp makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products. 
Features
<UL>
 <LI> Mic Preamp with 65 dB of gain
 <LI>Front and Back Panel Mic Input Access
 <LI>Line/Instrument Preamp with 50 dB of gain
 <LI>Front and Back Panel Line/Instrument Input
 <LI>LED VU meter for monitoring output level
 <LI>20 dB pad switch, applies to mic/line/instrument
 <LI>48v Phantom switchable power
 <LI>Traditional API fully discrete circuit design
 <LI>Uses the famous API 2520 Op-Amp

API 512C This is a Classic!
Discrete Mic / Line Pre

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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. The 550A provides reciprocal equalization at 15 points in 5 steps of boost to a maximum of 12dB of gain at each point. The fifteen equalization points are divided into three overlapping ranges. The high and low frequency ranges are individually selectable as either peaking or shelving, and a band-pass filter may be inserted independently of all other selected equalization settings. Frequency ranges and boost/cut are selected by three dual-concentric switches, and a pushbutton "in" switch allows the EQ to be silently introduced to the signal path. A small toggle switch is used to insert the band-pass filter into the 550A. The combination of Walker's incomparable 2520 op amp, and his "Proportional Q" circuitry gives the 550A user an uncomplicated way to generate acoustically superior equalization. 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. Features 
<UL>
<LI>3 bands of classic API equalization 
<LI>Each band offers 5 API selected frequency centers 
<LI>Reciprocal and repeatable filtering 
<LI>maximum 12 dB of boost/cut per band 
<LI>EQ Band 1 and 3 offer shelf/peak switching 
<LI>"Proportional Q" narrows filter Q at extremes 
<LI>Traditional API fully discrete circuit design 
<LI>High headroom +30 dB clip level </LI></UL>

API 550A (SW) - Saul Walker Edition
Discrete Classic 3 Band EQ

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API 550A Equalizer
Discrete Classic 3 Band EQ

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The API 550 Discrete 4 band 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.
Making use of "API Proportional-Q", a design introduced by API in the 60's, the 550B intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings—without the need for additional bandwidth controls. This feature minimizes the "phase-shift" sound found in many equalizers. The reciprocal nature of the 550B enables the user to "undo" what has been done previously.
The benefits of the API 550B are most obvious to those who work with EQ on a continuous basis. The 550B's ability to affect or reverse tonal modifications is perhaps the most important feature. If major tonal restructuring is required, the extraordinary headroom made possible with API's 2520 op-amp offers predictable and gentle "analog" performance under duress. With a surprisingly wide range of tonal variations, you can do no better than the API 550B.
Features 
<ul>
<li>4 bands of our famous sounding equalization 
</li><li>Each band offers 7 API selected frequency centers 
</li><li>Reciprocal and repeatable filtering 
</li><li>12 dB of boost/cut per band 
</li><li>EQ Band 1 and 4 offer shelf/peak switching 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Traditional API fully discrete circuit design 
</li><li>High headroom +30 dB clip level 
</li><li>Re-issue of 1967 API 550 EQ with an extra band</li></ul>

API 550B
Discrete 4 band Eq

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The API 560 was originally conceived for use in API Consoles of the 60's and 70's, the API 560 re-issue is a unique device designed to accomplish tasks that no other EQ can do. It delivers that "one-of-a-kind" API sound, precision easy set filtering, and high headroom in a very small package. Extremely fast to set and reset using accurate zero detents, the curve shaping potential of the 560 is unmatched. At home both in field recording and the studio environment, this "new-old" version is a re-issue of the original 560 with improved resolution in the critical area of ±4 dB. Incorporating API's exclusive circuitry and proprietary components (such as the legendary 2520 op-amp), the re-issue of the 560 artfully blends the past with present—layout with function. 

The API 560 was created to fit all appplications for the professional engineer. For most of the 70's and 80's, every remote recording console that API manufactured used this versitile graphic EQ. It is also ideal for studio and live sound applications, where a professional result is required. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.
The large number of available EQ bands make the 560 an ideal companion to parametric EQ, as well as ideal for signal sweetening and room tuning. Not lacking in features, the 560 makes use of API's unique "Proportional Q" design introduced by API in the 60's, intuitively widening the filter bandwidth at lower boost/cut levels and narrowing it at higher settings. In addition, boost and cut characteristics are identical, so previous actions can be undone.
The extraordinary headroom made possible with API's proprietary 2520 op-amp offers predictable and wonderful "analog" performance under duress. With a wider range of 500 mounting options, the 560 will be a valuable asset to your performance critical applications.
The 560 Graphic Equalizer makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products.
Features 
<UL>
<LI>10 bands of API proprietary equalization 
<LI>Familiar graphics operation on one octave centers 
<LI>12 dB of boost/cut per band 
<LI>"Proportional Q" narrows filter Q at extremes 
<LI>Additional resolution within the ±4 region 
<LI>Center detent for reliable reset 
<LI>Traditional API fully discrete circuit design 
<LI>Silent bypass button 
<LI>Re-issue of the 1969 API 560 EQ</LI></UL>

API 560
10 Band Graphic EQ

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The Arsenal Audio V 14 is an extremely high quality, single channel 4-Band Equalizer designed for the popular API VPR500 Rack format. The EQ features continuously variable adjustment of frequency and gain on dual concentric pots, with an eq in/out switch. Features: 
<UL>
<LI>4 bands of equalization modeled after the classic APSI model 562 EQ 
<LI>Each band offers continuously variable control of frequency and gain 
<LI>12 dB of boost/cut per band 
<LI>All 4 bands are peak/dipping parametric configuration 
<LI>Custom transformer balanced output 
<LI>High headroom +24 dB clip level 
<LI>Designed to fit API's 500 VPR Rack or Lunchbox® </LI></UL>Arsenal's V-14 offers a single channel of professional signal equalization in the popular 500 VPR format. Modeled after the circuitry of classic high end EQ's, the V14 delivers an affordable combination of rugged construction and solid performance. The V14 also features EQ in and out switch, plus dual concentric knobs which provide continuously variable control of boost/cut and frequency selection. Specifications 
<UL>
<LI>I/O: Balanced Input and Output through VPR Rack (All measurements with 600 Ohm output load) 
<LI>Bandwidth: +/- 0.5db, 20hz - 50Khz 
<LI>THD+N @ 1Khz, +4dbu: 0.01% 
<LI>Maximum Level: +24dbu 
<LI>Signal-to-Noise Ratio: -102db 
<LI>EQ Bands: 4 bands, all +/-12db Peak/Dip type 
<LI>Lo: 20hz - 200hz 
<LI>Lo-Mid: 100hz - 1Khz 
<LI>Hi-Mid: 500hz - 5Khz 
<LI>Hi: 2.2Khz - 20Khz 
<LI>Current: 30mA, 3.4VoltAmps 
<LI>Dimensions: 1 VPR Alliance Slot 
<LI>Height: 5.25 Inches 
<LI>Width: 1.5 Inches 
<LI>Depth: 7 Inches 
<LI>Weight: 1.5 lbs 
<LI>Input Impedance: 12K Ohms 
<LI>Output Impedance: 300 Ohms Transformer Balanced </LI></UL>
(Specifications subject to change without notice)

Arsenal Audio by API V14 - 500 Series Equalizer
4 Band VPR 500 Format Equalizer

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The Avedis Audio E27 is one of the coolest and most unique EQ's on the market. A completely discrete design, and specifically for the 500 series format, it features 3 bands of EQ with 9 selectable frequencies per band. Push button shelving for low and high frequencies, allows for more flexibility. Jensen transformer balanced input & outputs, and gold plated rotary switches and 15-way connector provide for great sound & long life.
 
The level knob controls up to 16 db's of cut and boost but for those who only need a few db's, the travel of the pot starts slow and speeds up at the extremes giving the user more fine control at levels of 6 db's or less. Knob positions are not only easy to see from a distance but are also felt - the level pot knob has a small point so you know where you are without looking at the eq. The outer frequency control knob has a knurl texture for easy grip. 
Features:<UL>
<LI> Standard 500 series modular size 1.5" x 5.25"
<LI> 3-bands with 9 selectable frequencies per band
<LI> ±16 dB of boost and cut using continuous variable potentiometer
<LI> Push button shelving option for low and high frequencies
<LI> All discrete design
<LI> High headroom
<LI> Low noise
<LI> Jensen transformers couple the input & output
<LI> Custom machined aluminum knobs
<LI> Gold plated rotary switches and 15-way connector for long life
<LI> Utilizes 1122 opamps
<LI>80ma current draw total, 40 per rail

Avedis Audio Electronics E27 Equalizer
"500 Series" 3 Band EQ

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After some requests from audio engineers, the Avedis Audio MA5 was created for the need of a high quality microphone preamplifier in the characteristic sound of early 70's British consoles. The re-engineering in the creation of the MA5 stemmed from years of experience restoring both American and British modules, deeply rooted in classic transformer-balanced, discrete electronics. Only the best and most suitable components are used throughout, regardless of cost, to attain the best sound. 
 
Much time was spent on the MA5, not only on the engineering side of the design, but also to extensive sound evaluations in observation of specific settings, gain structures, and key components spanning a time frame of a little over a year. 
 
We have always believed that even with some of the best audio test analyzers we own and use, our ears' sensitivity, coupled with good judgement of sound through experience, is still unparalleled. In the end, it is our ears we are trying to satisfy.

Features:<UL>

<LI>Standard 500 series modular size 1.5" x 5.25"
<LI>Single-ended Class A amplifier
<LI>UK made input transformer
<LI>Custom designed Jensen output transformer
<LI>Stepped gain rotary switch in 5dB steps 
<LI>Output level pot for trim and mute
<LI>LED lit pushbuttons
<LI>Special 28kHz button
<LI>Custom made Marconi style knobs
<LI>High headroom & CMR, Low noise design
<LI>140ma current draw total, 70ma per rail

Avedis Audio Electronics MA5 Microphone Pre
"500 Series" Mic Pre

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Brent Averill 312A Module
"500 Series" Mic Pre

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Based on the API 500 series form factor, the Burl Audio B1 was designed to compliment the B2 Bomber ADC, and give you multi-channel pleasure. With the proprietary BX3 input transformer and BX2 output transformer, the B1 Mic Pre delivers warmth with depth and clarity. An all discrete transistor, class-A, direct coupled, capacitor free circuit path, gives the B1amazing punch on drums, beautiful tonality on guitars, and warmth with presence on vocals.
 
The B1 comes complete with both Gain and Level controls. If you want that heavy, gainy tone, crank up the stepped gain control and offset that with the level control. If clean tone is your thing, turn the gain down and crank up the level. For ribbon mics and other low impedance sources, the B1 has a transformer coupled impedance select. The B1 was rigorously tested with the popular Royer R-121 in the low impedance setting, and we think it sounds pretty f***ing bitchin'’ on guitar amps. The B1 gets the best out of any microphone, whether it be dynamic, condenser or ribbon.
 
Use the B1’s 1/4” instrument/line input on the front panel, plug in, crank up the gain and go. The PAD switch allows for hot signals and balanced line inputs through the mic XLR on the back panel. Run your tracks or mixes through the B1 for warmth and glue. The B1 was designed to rock. Run multiple B1 channels for your rhythm tracks and you are there. Replace EQ and compression with true analog PHAT. Run your primary tracks through the B1 mic pre, follow with a B2 Bomber ADC and that's about all you will need.
	<UL>

<LI>BURL custom BX3 input transformer
<LI>BURL custom BX2 output transformer
<LI>Audiophile, discrete, class-A, direct-coupled, capacitor free circuit path
<LI>Stepped gain control
<LI>Independent output level control
<LI>70 dB gain
<LI>Impedance select
<LI>1/4” front panel DI input
<LI>30 dB pad for hot signals and balanced line level input
<LI>Phantom power
<LI>Phase reverse
<LI>Tri-colored gain level indication
<LI>Love and thunder

Burl Audio B1 Mic Pre
500 Series Mic Pre

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Burl Audio B1D Mic Pre
500 Series Mic Pre. Same as B1 but with darker transformer

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