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AMS Neve 1073LB

Mic Preamp

$938.00
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AMS Neve 1073LB

AMS Neve 1073LB

$938.00

1073LB Mono Mic Preamp moduleClassic Neve Mic Pre for 500 SeriesLaunched in 1970, the 1073 is the first choice of leading producers and artists, delivering the unique Neve sound on some of the most famous recordings of the past 40 years. Designed and manufactured in England, the 1073LB retains the unique sonic characteristics of the original 107...


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AMS Neve 88RLB

Mic Preamp

$745.00
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AMS Neve 88RLB

AMS Neve 88RLB

$745.00

88RLB Mono Mic Preamp module500-series mono mic preampNot everyone has room for the world’s greatest recording console – the Neve 88RS – but now there’s no need to settle for anything other than the absolute best when it comes to capturing the beauty, energy and excitement of your recording… When the world’s top musicians, composers and engineer...


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JDK AUDIO BY API V10

500 Series

$599.00
{"id":133174263834,"title":"JDK AUDIO BY API V10","handle":"jdk-audio-by-api-v10","description":"V10\u003cbr\u003eSingle Channel Mic Pre\u003cbr\u003eThe JDK Audio V10 is a single channel professional grade microphone preamp, designed from the ground up by API Engineers to offer a versatile and high quality input for microphones as well as instruments. The V10 conforms to API's 500 Series format and is a member of API's VPR Alliance.\u003cbr\u003e\u003cbr\u003eThe unit features both a mic and an instrument input, with switchable phantom power, phase, and pad. Metering is a multi-segmented LED with peak indication.\u003cbr\u003e\u003cbr\u003eFeatures:\u003cbr\u003e\u003cbr\u003e• Mic Preamplifier offers 54 dB of gain\u003cbr\u003e• Concise LED metering for monitoring output level\u003cbr\u003e• Front panel, high-impedance instrument input with 45 dB of gain\u003cbr\u003e• Pad switch attenuates the microphone signal by 20 dB, or the instrument signal by 10 dB\u003cbr\u003e• Switchable 48v Phantom Power\u003cbr\u003e• Low distortion, low noise circuitry\u003cbr\u003e• Fully balanced output\u003cbr\u003e\u003cbr\u003eLike JDK's R20, the V10 provides premium analog microphone pre-amplification designed to provide a low noise, solid front end for all audio applications. Meticulously detailed and solidly constructed, the V10 features hands-on analog control of the gain level. Individual toggle switches control the selection of 48v, polarity, pad and a mic\/instrument switch.","published_at":"2017-09-30T11:20:32+02:00","created_at":"2017-09-30T11:26:25+02:00","vendor":"API","type":"500 Series","tags":["500 Series Preamps","500 Series Processors","API","JDK","Price Range_$500 to $750","Shop by brand_API","Shop by brand_JDK AUDIO BY API","Shop by category_500 Series","Shop by category_500 Series Preamps","Shop by category_Preamps","Shop by category_Signal Processing \u0026 500 Series","Signal Processing \u0026 500 Series","Studio \u0026 Recording"],"price":59900,"price_min":59900,"price_max":59900,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":1866735222810,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"JDKV10","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"JDK AUDIO BY API V10","public_title":null,"options":["Default Title"],"price":59900,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/jdk_v10.jpg?v=1506768682","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/ph1_v10_l.jpg?v=1506768682"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/jdk_v10.jpg?v=1506768682","options":["Title"],"content":"V10\u003cbr\u003eSingle Channel Mic Pre\u003cbr\u003eThe JDK Audio V10 is a single channel professional grade microphone preamp, designed from the ground up by API Engineers to offer a versatile and high quality input for microphones as well as instruments. The V10 conforms to API's 500 Series format and is a member of API's VPR Alliance.\u003cbr\u003e\u003cbr\u003eThe unit features both a mic and an instrument input, with switchable phantom power, phase, and pad. Metering is a multi-segmented LED with peak indication.\u003cbr\u003e\u003cbr\u003eFeatures:\u003cbr\u003e\u003cbr\u003e• Mic Preamplifier offers 54 dB of gain\u003cbr\u003e• Concise LED metering for monitoring output level\u003cbr\u003e• Front panel, high-impedance instrument input with 45 dB of gain\u003cbr\u003e• Pad switch attenuates the microphone signal by 20 dB, or the instrument signal by 10 dB\u003cbr\u003e• Switchable 48v Phantom Power\u003cbr\u003e• Low distortion, low noise circuitry\u003cbr\u003e• Fully balanced output\u003cbr\u003e\u003cbr\u003eLike JDK's R20, the V10 provides premium analog microphone pre-amplification designed to provide a low noise, solid front end for all audio applications. Meticulously detailed and solidly constructed, the V10 features hands-on analog control of the gain level. Individual toggle switches control the selection of 48v, polarity, pad and a mic\/instrument switch."}
JDK AUDIO BY API V10

JDK AUDIO BY API V10

$599.00

V10Single Channel Mic PreThe JDK Audio V10 is a single channel professional grade microphone preamp, designed from the ground up by API Engineers to offer a versatile and high quality input for microphones as well as instruments. The V10 conforms to API's 500 Series format and is a member of API's VPR Alliance.The unit features both a mic and an...


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Lindell Audio PEX-500

Software

$98.25
{"id":169148842010,"title":"Lindell Audio PEX-500","handle":"lindell-audio-pex-500","description":"\u003cp\u003e\u003cstrong\u003eLindell Audio PEX-500\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eClassic passive Pultec tone and features\u003c\/strong\u003e\u003cbr\u003eLindell’s PEX-500 hardware unit is a mono transformer-coupled Passive Pultec style equalizer. Its all-discrete design is based upon Lindell’s hybrid amplifier providing 15dB boost of smooth silky high end and the punchiest low end you’re likely to find.\u003cbr\u003e\u003cbr\u003eThe Lindell PEX-500 is Tobias Lindell’s take on the classic Pultec Equalizer. Along with unique features closely associated with Pultec EQs, including the ability to simultaneously cut and boost a given frequency, the PEX-500 plugin also includes a few extra tricks not found on the original hardware like additional high frequency selections and a Mid\/Side (M\/S) matrix.\u003cbr\u003e\u003cbr\u003eThe PEX-500 plugin is a faithful emulation of this magic hardware unit, capturing that classic Pultec sound while adding features not found in the original Lindell hardware, including stereo operation, a Mid\/Side matrix, and additional high frequency selections.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Classic passive Pultec tone and features\u003c\/li\u003e\n\u003cli\u003e    Mid\/Side matrix\u003c\/li\u003e\n\u003cli\u003e    Faithful emulation of the original all-discrete Lindell hardware\u003c\/li\u003e\n\u003cli\u003e    Smooth, musical EQ curves\u003c\/li\u003e\n\u003cli\u003e    Separate Boost and Attenuate controls for the bass band\u003c\/li\u003e\n\u003cli\u003e    True analog circuit model -- warms up tracks just by instantiating it.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cstrong\u003eRequirements\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMac\u003c\/strong\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003e    Intel CPU only (we recommend at least 2 GHz)\u003c\/li\u003e\n\u003cli\u003e    2 GB RAM\u003c\/li\u003e\n\u003cli\u003e    Mac OS 10.8 or higher\u003c\/li\u003e\n\u003cli\u003e    Display resolution of 1440 x 900 px \/ 1280 x 960 px or higher\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cstrong\u003eWindows\u003c\/strong\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003e    Intel-compatible CPU with SSE2 instruction set (Pentium 4 compatible or higher; we recommend at least 2 GHz)\u003c\/li\u003e\n\u003cli\u003e    2 GB RAM\u003c\/li\u003e\n\u003cli\u003e    Windows 7 or higher\u003c\/li\u003e\n\u003cli\u003e    Display resolution of 1440 x 900 px \/ 1280 x 960 px or higher\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cstrong\u003eProduct activation:\u003c\/strong\u003e\u003cbr\u003eAn internet connection on any computer is required to authorize \/ activate the product (Challenge\/Response).","published_at":"2017-10-22T09:44:50+02:00","created_at":"2017-10-22T09:47:22+02:00","vendor":"Lindell Audio","type":"Software","tags":["500 Series","500 Series EQ","Download\/Boxed_Download","Format_AAX Native","Format_AU","Format_VST","Lindell Audio","Platform_Mac","Platform_Pc","Price Range_$100 to $200","Shop by brand_Lindell Audio","Shop by category_500 Series","Shop by category_500 Series EQ","Shop by category_Signal Processing \u0026 500 Series","Shop by category_Software","Signal Processing \u0026 500 Series","Studio \u0026 Recording"],"price":9825,"price_min":9825,"price_max":9825,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":2564206657562,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Lindell Audio PEX-500","public_title":null,"options":["Default Title"],"price":9825,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/pex-500.jpg?v=1508658452"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/pex-500.jpg?v=1508658452","options":["Title"],"content":"\u003cp\u003e\u003cstrong\u003eLindell Audio PEX-500\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eClassic passive Pultec tone and features\u003c\/strong\u003e\u003cbr\u003eLindell’s PEX-500 hardware unit is a mono transformer-coupled Passive Pultec style equalizer. Its all-discrete design is based upon Lindell’s hybrid amplifier providing 15dB boost of smooth silky high end and the punchiest low end you’re likely to find.\u003cbr\u003e\u003cbr\u003eThe Lindell PEX-500 is Tobias Lindell’s take on the classic Pultec Equalizer. Along with unique features closely associated with Pultec EQs, including the ability to simultaneously cut and boost a given frequency, the PEX-500 plugin also includes a few extra tricks not found on the original hardware like additional high frequency selections and a Mid\/Side (M\/S) matrix.\u003cbr\u003e\u003cbr\u003eThe PEX-500 plugin is a faithful emulation of this magic hardware unit, capturing that classic Pultec sound while adding features not found in the original Lindell hardware, including stereo operation, a Mid\/Side matrix, and additional high frequency selections.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Classic passive Pultec tone and features\u003c\/li\u003e\n\u003cli\u003e    Mid\/Side matrix\u003c\/li\u003e\n\u003cli\u003e    Faithful emulation of the original all-discrete Lindell hardware\u003c\/li\u003e\n\u003cli\u003e    Smooth, musical EQ curves\u003c\/li\u003e\n\u003cli\u003e    Separate Boost and Attenuate controls for the bass band\u003c\/li\u003e\n\u003cli\u003e    True analog circuit model -- warms up tracks just by instantiating it.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cstrong\u003eRequirements\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMac\u003c\/strong\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003e    Intel CPU only (we recommend at least 2 GHz)\u003c\/li\u003e\n\u003cli\u003e    2 GB RAM\u003c\/li\u003e\n\u003cli\u003e    Mac OS 10.8 or higher\u003c\/li\u003e\n\u003cli\u003e    Display resolution of 1440 x 900 px \/ 1280 x 960 px or higher\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cstrong\u003eWindows\u003c\/strong\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003e    Intel-compatible CPU with SSE2 instruction set (Pentium 4 compatible or higher; we recommend at least 2 GHz)\u003c\/li\u003e\n\u003cli\u003e    2 GB RAM\u003c\/li\u003e\n\u003cli\u003e    Windows 7 or higher\u003c\/li\u003e\n\u003cli\u003e    Display resolution of 1440 x 900 px \/ 1280 x 960 px or higher\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cstrong\u003eProduct activation:\u003c\/strong\u003e\u003cbr\u003eAn internet connection on any computer is required to authorize \/ activate the product (Challenge\/Response)."}
Lindell Audio PEX-500

Lindell Audio PEX-500

$98.25

Lindell Audio PEX-500Classic passive Pultec tone and featuresLindell’s PEX-500 hardware unit is a mono transformer-coupled Passive Pultec style equalizer. Its all-discrete design is based upon Lindell’s hybrid amplifier providing 15dB boost of smooth silky high end and the punchiest low end you’re likely to find.The Lindell PEX-500 is Tobias Lin...


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Maag Audio EQ-4

Software

$299.00
{"id":169032450074,"title":"Maag Audio EQ-4","handle":"maag-audio-eq-4","description":"\u003cp\u003e\u003cstrong\u003eMaag Audio EQ-4\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e6 Band Equalizer with AIR BAND\u003c\/strong\u003e\u003cbr\u003eYou’ve heard the Maag Audio EQ4 on the vocals of artists ranging from Madonna to Celine Dion, and from the Black Eyed Peas to Snoop Dogg. Now you can have this legendary EQ right inside your DAW.\u003cbr\u003e\u003cbr\u003eThe Maag Audio EQ4’s unique design allows for exceptionally low phase shift across all EQ adjustments, which helps maintain the integrity of your mix’s original sound while enhancing the “Airy” frequencies. The AIR BAND® interacts with the 5 band pass EQs to tonally sculpt your tracks from top to bottom with unrivaled transparency and top end presence.\u003cbr\u003e\u003cbr\u003eThe Maag Audio EQ4 is a musical EQ, not a surgical EQ, making it ideal for sweetening tracks. Add it to your vocal tracks to hear why top audio engineers who have access to every EQ ever made demand the EQ4 for vocals. This plugin version also includes the new LEVEL TRIM feature, which can be used to turn down the overall gain if needed. Detent controls allow for easily recallable settings, and you can ALT\/click to toggle between a reset for each band and the last status, which lets you easily bypass individual bands.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    The EQ4’s legendary AIR BAND™\u003c\/li\u003e\n\u003cli\u003e    Boost only shelf at 2.5 kHz, 5 kHz, 10 kHz, 20 kHz, or 40 kHz.\u003c\/li\u003e\n\u003cli\u003e    2.5 kHz Fixed boost and cut shelf\u003c\/li\u003e\n\u003cli\u003e    650 Hz Fixed boost and cut bell\u003c\/li\u003e\n\u003cli\u003e    160 Hz Fixed boost and cut bell\u003c\/li\u003e\n\u003cli\u003e    40 Hz Fixed boost and cut bell\u003c\/li\u003e\n\u003cli\u003e    SUB (10 Hz) Fixed boost and cut bell\u003c\/li\u003e\n\u003cli\u003e    PEAK indicator light\u003c\/li\u003e\n\u003cli\u003e    SIGNAL indicator light\u003c\/li\u003e\n\u003cli\u003e    EQ IN\/OUT button\u003c\/li\u003e\n\u003cli\u003e    Detent controls for quickly recalling settings\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRequirements\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMac\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Intel CPU only (we recommend at least 2 GHz)\u003c\/li\u003e\n\u003cli\u003e    2 GB RAM\u003c\/li\u003e\n\u003cli\u003e    Mac OS 10.8 or higher\u003c\/li\u003e\n\u003cli\u003e    Display resolution of 1440 x 900 px \/ 1280 x 960 px or higher\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eWindows\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Intel-compatible CPU with SSE2 instruction set (Pentium 4 compatible or higher; we recommend at least 2 GHz)\u003c\/li\u003e\n\u003cli\u003e    2 GB RAM\u003c\/li\u003e\n\u003cli\u003e    Windows 7 or higher\u003c\/li\u003e\n\u003cli\u003e    Display resolution of 1440 x 900 px \/ 1280 x 960 px or higher\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eProduct activation:\u003c\/strong\u003e\u003cbr\u003eAn internet connection on any computer is required to authorize \/ activate the product (Challenge\/Response).\u003c\/p\u003e","published_at":"2017-10-22T09:04:00+02:00","created_at":"2017-10-22T09:05:31+02:00","vendor":"Maag Audio","type":"Software","tags":["500 Series","500 Series EQ","Download\/Boxed_Download","Format_AAX DSP","Format_AAX Native","Format_AU","Format_RTAS","Format_VST","Maag Audio","Platform_Mac","Platform_Pc","Price Range_$200 to $300","Shop by brand_Maag Audio","Shop by category_500 Series","Shop by category_500 Series EQ","Shop by category_Signal Processing \u0026 500 Series","Shop by category_Software","Signal Processing \u0026 500 Series","Studio \u0026 Recording"],"price":29900,"price_min":29900,"price_max":29900,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":2563805741082,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Maag Audio EQ-4","public_title":null,"options":["Default Title"],"price":29900,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/eq-4.jpg?v=1508655946","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/maageq4_header.jpg?v=1508655954"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/eq-4.jpg?v=1508655946","options":["Title"],"content":"\u003cp\u003e\u003cstrong\u003eMaag Audio EQ-4\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e6 Band Equalizer with AIR BAND\u003c\/strong\u003e\u003cbr\u003eYou’ve heard the Maag Audio EQ4 on the vocals of artists ranging from Madonna to Celine Dion, and from the Black Eyed Peas to Snoop Dogg. Now you can have this legendary EQ right inside your DAW.\u003cbr\u003e\u003cbr\u003eThe Maag Audio EQ4’s unique design allows for exceptionally low phase shift across all EQ adjustments, which helps maintain the integrity of your mix’s original sound while enhancing the “Airy” frequencies. The AIR BAND® interacts with the 5 band pass EQs to tonally sculpt your tracks from top to bottom with unrivaled transparency and top end presence.\u003cbr\u003e\u003cbr\u003eThe Maag Audio EQ4 is a musical EQ, not a surgical EQ, making it ideal for sweetening tracks. Add it to your vocal tracks to hear why top audio engineers who have access to every EQ ever made demand the EQ4 for vocals. This plugin version also includes the new LEVEL TRIM feature, which can be used to turn down the overall gain if needed. Detent controls allow for easily recallable settings, and you can ALT\/click to toggle between a reset for each band and the last status, which lets you easily bypass individual bands.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    The EQ4’s legendary AIR BAND™\u003c\/li\u003e\n\u003cli\u003e    Boost only shelf at 2.5 kHz, 5 kHz, 10 kHz, 20 kHz, or 40 kHz.\u003c\/li\u003e\n\u003cli\u003e    2.5 kHz Fixed boost and cut shelf\u003c\/li\u003e\n\u003cli\u003e    650 Hz Fixed boost and cut bell\u003c\/li\u003e\n\u003cli\u003e    160 Hz Fixed boost and cut bell\u003c\/li\u003e\n\u003cli\u003e    40 Hz Fixed boost and cut bell\u003c\/li\u003e\n\u003cli\u003e    SUB (10 Hz) Fixed boost and cut bell\u003c\/li\u003e\n\u003cli\u003e    PEAK indicator light\u003c\/li\u003e\n\u003cli\u003e    SIGNAL indicator light\u003c\/li\u003e\n\u003cli\u003e    EQ IN\/OUT button\u003c\/li\u003e\n\u003cli\u003e    Detent controls for quickly recalling settings\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eRequirements\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMac\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Intel CPU only (we recommend at least 2 GHz)\u003c\/li\u003e\n\u003cli\u003e    2 GB RAM\u003c\/li\u003e\n\u003cli\u003e    Mac OS 10.8 or higher\u003c\/li\u003e\n\u003cli\u003e    Display resolution of 1440 x 900 px \/ 1280 x 960 px or higher\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eWindows\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Intel-compatible CPU with SSE2 instruction set (Pentium 4 compatible or higher; we recommend at least 2 GHz)\u003c\/li\u003e\n\u003cli\u003e    2 GB RAM\u003c\/li\u003e\n\u003cli\u003e    Windows 7 or higher\u003c\/li\u003e\n\u003cli\u003e    Display resolution of 1440 x 900 px \/ 1280 x 960 px or higher\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eProduct activation:\u003c\/strong\u003e\u003cbr\u003eAn internet connection on any computer is required to authorize \/ activate the product (Challenge\/Response).\u003c\/p\u003e"}
Maag Audio EQ-4

Maag Audio EQ-4

$299.00

Maag Audio EQ-4 6 Band Equalizer with AIR BANDYou’ve heard the Maag Audio EQ4 on the vocals of artists ranging from Madonna to Celine Dion, and from the Black Eyed Peas to Snoop Dogg. Now you can have this legendary EQ right inside your DAW.The Maag Audio EQ4’s unique design allows for exceptionally low phase shift across all EQ adjustments, whi...


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{"id":8462270349,"title":"Moog Analog Delay - a 500 Series BBD Delay for professional use","handle":"500-delay","description":"\u003cdiv id=\"container\"\u003e\n\u003cdiv id=\"reader-header\" dir=\"ltr\"\u003e\n\u003ca id=\"reader-domain\" href=\"https:\/\/www.moogmusic.com\/products\/500-series\/500-series-analog-delay\"\u003e\u003c\/a\u003e\n\u003ch1 id=\"reader-title\"\u003e500 Series Analog Delay | Moog Music Inc\u003c\/h1\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"moz-reader-content\" dir=\"ltr\"\u003e\n\u003cdiv id=\"readability-page-1\" xml:base=\"https:\/\/www.moogmusic.com\/products\/500-series\/500-series-analog-delay\"\u003e\n\u003cp\u003eINFO\u003c\/p\u003e\n\u003cp\u003e\"F*cking Awesome\" - Vance Powell (Jack White, Kings of Leon, DangerMouse)\u003c\/p\u003e\n\u003cp\u003e\"The Moog 500 Delay has instantly become part of every mix I do.  It sounds great and the MIDI control is ridiculous!.\" - Andrew Scheps (Adelle, Jay -Z, Michael Jackson, The Mars Volta).\u003c\/p\u003e\n\u003cp\u003eVoted Pro Sound Network Best In Show at AES 2012\u003c\/p\u003e\n\u003cp\u003eThe Moog Analog Delay is the world’s first delay designed exclusively for the 500 series format. It is a MIDI syncable module that features a 100% analog signal path, front panel MIDI, and an assignable Tap Tempo\/CV jack. Included with each unit is a free VST\/AU\/RTAS editor for easy implementation into any recording, live, or performance situation.\u003c\/p\u003e\n\u003cp\u003eOut of the box you get 800ms of the warmest, and most musical delay on the planet. No emulation plugin can impart depth and life into your mixes like the Analog Delay.\u003c\/p\u003e\n\u003cp\u003eThe Analog Delay has been designed with tone, connectivity, and flexibility at the forefront. Moog’s engineering team worked tirelessly to deliver a 500 Series module with an incredibly clean front end that could easily pushed into a warm, natural overdrive for saturated delay trails or beyond for more distorted effects.\u003c\/p\u003e\n\u003cp\u003eThough not on the front panel, the Analog Delay features a 6 Waveshape LFO that allows you to create other time based effects such as tape delay, chorus and extreme modulated sounds. The LFO can be easily accessed via MIDI or the free VST\/AU\/RTAS Analog Delay plug-in editor.\u003c\/p\u003e\n\u003cp\u003eAlso accessible via the editor are advanced features like Tap\/CV input routing, Keyboard Control settings, Clock Divisions and a Delay Multiplier for access to illegal times up to 4x the front panel position. The Tap\/CV input also can be fed audio from a click track to act as a tap tempo source.\u003c\/p\u003e\n\u003cp\u003eThe 500 series Analog Delay combines the sound of the ultimate analog delay with convenient digital control and flexibility to create the perfect recording and live sound tool.\u003c\/p\u003e\n\u003cp\u003eFeatures:\u003c\/p\u003e\n\u003cp\u003e• 35-800ms Analog Delay Time\u003c\/p\u003e\n\u003cp\u003e• .5x\/1.0x Time and Filter Switch\u003c\/p\u003e\n\u003cp\u003e• 30dB of Input Drive and Output Gain\u003c\/p\u003e\n\u003cp\u003e• Assignable ¼” Tap Tempo and CV input\u003c\/p\u003e\n\u003cp\u003e• MIDI Control\u003c\/p\u003e\n\u003cp\u003e• 6 Waveshape LFO\u003c\/p\u003e\n\u003cp\u003e• Free VST\/AU\/RTAS editor (AAX coming soon)\u003c\/p\u003e\n\u003cp\u003e• Stereo Linkable\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePRELIMINARY SPECS:\u003c\/p\u003e\n\u003cp\u003e• Balanced line level via 500 rack. +19dBµ to -11dBµ\u003c\/p\u003e\n\u003cp\u003e• Input Impedance: 1MΩ Differential or single ended, common Mode 48KΩ.\u2028\u003c\/p\u003e\n\u003cp\u003e• Output Impedance: Nominally 50Ω differential 25Ω single ended.\u003c\/p\u003e\n\u003cp\u003e• Max. Output Level: Better than +22dBµ, balanced.\u003c\/p\u003e\n\u003cp\u003e• Drive Gain: 30dB Range of control\u003c\/p\u003e\n\u003cp\u003e• Output Gain: 30dB Range of control\u003c\/p\u003e\n\u003cp\u003e• Frequency Response: Better than +\/-0.5dB 20Hz – 20KHz pass band.  Better than +\/- 1.5dB 5Hz – 24KHz pass band.\u003c\/p\u003e\n\u003cp\u003e• Bypass: Hard Relay True Bypass\u003c\/p\u003e\n\u003cp\u003e• Power Consumption: 130mA +16V, \u0026lt;60mA -16V\u003c\/p\u003e\n\u003cp\u003e• Four NOS Panasonic Low Noise High Voltage BBDs\u003c\/p\u003e\n\u003cp\u003e• Premium \"esoteric\" TI\/Burr Brown OPA1644 Op amps used throughout the analog signal path.\u003c\/p\u003e\n\u003cp\u003e• Premium \"Metallized Polyphenylene-Sulphide Film capacitors in the filter section.\u003c\/p\u003e\n\u003cp\u003e• 2 Dual High quality Moog 6th order filters for anti alias and clock removal functions\u003c\/p\u003e\n\u003cp\u003e• Premium THAT high CMRR front end with Servo DC Nulling.\u003c\/p\u003e\n\u003cp\u003e• Premium THAT cross coupled differential drive output stage.\u003c\/p\u003e\n\u003cp\u003e• Ultra fast, low noise linear power supply regulators for the lowest noise possible in an analog delay.\u003c\/p\u003e\n\u003cp\u003e• Premium audiophile grade op amp upgrades though out for the lowest distortion and noise possible.\u003c\/p\u003e\n\u003cp\u003e• Upgraded High speed Low noise op amp upgrades for all CV and control sections.\u003c\/p\u003e\n\u003cp\u003e• Upgrades to the capacitors in all key sonic points to reduce microphonics, noise and improve sonic quality.\u003c\/p\u003e\n\u003cp\u003e• 2.5 - 3.5 times the sonic headroom and rails in the audio signal path.\u003c\/p\u003e\n\u003cp\u003e• Premium differential input and output sections utilizing DC servo modified THAT Corporation receivers and transmitters. (THAT In Genius 1200 Transformer simulating reviever with Moog designed DC servo offset removing, featuring over 1M input impedance and very high common mode rejection ratio, THAT Corp OutSmarts 1646  Balanced Line Driver for balanced transformer like floating outputs).\u003c\/p\u003e\n\u003cp\u003e• Ultra Low noise and fast transient response linear regulators and voltage isolation networks.  \u003c\/p\u003e\n\u003cp\u003e• Complete design re-visitation with many small tweaks and adjustments to significantly open the sonic filed, warmth, lower noise and improve the sonic quality.\u003c\/p\u003e\n\u003cp\u003e• True relay hard bypass.\u003c\/p\u003e\n\u003cp\u003e• Low noise and low distortion gain and mixing sections with less coloration and distortion in the gain and mixing sections.\u003c\/p\u003e\n\u003cp\u003e• Significantly lower noise, distortion, microphonics, and other objectionable artifacts due to improved components and design improvements.\u003c\/p\u003e\n\u003cp\u003e• No VCA in the input, output, or mixer sections for lowered noise, distortion and coloration\u003c\/p\u003e\n\u003cp\u003e• Stereo linking capability and firmware improvements for a wide variety of mono to stereo delay effects and and stereo I\/O capability\u003c\/p\u003e\n\u003cp\u003e• Improved and expanded LFO capabilities.\u003c\/p\u003e\n\u003cp\u003e• Lower distortion and higher accuracy BBD chain  due to the addition of 5 trimmer pots to dial in the BBD recombining balance and gain stage accuracy.\u003c\/p\u003e\n\u003cp\u003e• Improved high end MUX circuitry in the 6th order anti alias filters and clock removal filters for lower noise and distortion.\u003c\/p\u003e\n\u003cp\u003e• Added analog click track to tap tempo tracking.\u003c\/p\u003e\n\u003cp\u003e• Flexible assignable CV buss.\u003c\/p\u003e\n\u003cp\u003e• Improved signal monitoring chain\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e","published_at":"2016-11-19T19:00:00+02:00","created_at":"2016-11-19T19:05:04+02:00","vendor":"Moog","type":"500 Series","tags":["Moog","Price Range_$500 to $750","Reverbs \/ Effects","Shop by brand_Moog","Shop by category_500 Series","Shop by category_Reverbs \/ Effects","Signal Processing","Studio \u0026 Recording"],"price":69900,"price_min":69900,"price_max":69900,"available":true,"price_varies":false,"compare_at_price":69900,"compare_at_price_min":69900,"compare_at_price_max":69900,"compare_at_price_varies":false,"variants":[{"id":28589941133,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"500-DELAY","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Moog Analog Delay - a 500 Series BBD Delay for professional use","public_title":null,"options":["Default Title"],"price":69900,"weight":0,"compare_at_price":69900,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/500-DelayProduct.jpg?v=1479575130"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/500-DelayProduct.jpg?v=1479575130","options":["Title"],"content":"\u003cdiv id=\"container\"\u003e\n\u003cdiv id=\"reader-header\" dir=\"ltr\"\u003e\n\u003ca id=\"reader-domain\" href=\"https:\/\/www.moogmusic.com\/products\/500-series\/500-series-analog-delay\"\u003e\u003c\/a\u003e\n\u003ch1 id=\"reader-title\"\u003e500 Series Analog Delay | Moog Music Inc\u003c\/h1\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"moz-reader-content\" dir=\"ltr\"\u003e\n\u003cdiv id=\"readability-page-1\" xml:base=\"https:\/\/www.moogmusic.com\/products\/500-series\/500-series-analog-delay\"\u003e\n\u003cp\u003eINFO\u003c\/p\u003e\n\u003cp\u003e\"F*cking Awesome\" - Vance Powell (Jack White, Kings of Leon, DangerMouse)\u003c\/p\u003e\n\u003cp\u003e\"The Moog 500 Delay has instantly become part of every mix I do.  It sounds great and the MIDI control is ridiculous!.\" - Andrew Scheps (Adelle, Jay -Z, Michael Jackson, The Mars Volta).\u003c\/p\u003e\n\u003cp\u003eVoted Pro Sound Network Best In Show at AES 2012\u003c\/p\u003e\n\u003cp\u003eThe Moog Analog Delay is the world’s first delay designed exclusively for the 500 series format. It is a MIDI syncable module that features a 100% analog signal path, front panel MIDI, and an assignable Tap Tempo\/CV jack. Included with each unit is a free VST\/AU\/RTAS editor for easy implementation into any recording, live, or performance situation.\u003c\/p\u003e\n\u003cp\u003eOut of the box you get 800ms of the warmest, and most musical delay on the planet. No emulation plugin can impart depth and life into your mixes like the Analog Delay.\u003c\/p\u003e\n\u003cp\u003eThe Analog Delay has been designed with tone, connectivity, and flexibility at the forefront. Moog’s engineering team worked tirelessly to deliver a 500 Series module with an incredibly clean front end that could easily pushed into a warm, natural overdrive for saturated delay trails or beyond for more distorted effects.\u003c\/p\u003e\n\u003cp\u003eThough not on the front panel, the Analog Delay features a 6 Waveshape LFO that allows you to create other time based effects such as tape delay, chorus and extreme modulated sounds. The LFO can be easily accessed via MIDI or the free VST\/AU\/RTAS Analog Delay plug-in editor.\u003c\/p\u003e\n\u003cp\u003eAlso accessible via the editor are advanced features like Tap\/CV input routing, Keyboard Control settings, Clock Divisions and a Delay Multiplier for access to illegal times up to 4x the front panel position. The Tap\/CV input also can be fed audio from a click track to act as a tap tempo source.\u003c\/p\u003e\n\u003cp\u003eThe 500 series Analog Delay combines the sound of the ultimate analog delay with convenient digital control and flexibility to create the perfect recording and live sound tool.\u003c\/p\u003e\n\u003cp\u003eFeatures:\u003c\/p\u003e\n\u003cp\u003e• 35-800ms Analog Delay Time\u003c\/p\u003e\n\u003cp\u003e• .5x\/1.0x Time and Filter Switch\u003c\/p\u003e\n\u003cp\u003e• 30dB of Input Drive and Output Gain\u003c\/p\u003e\n\u003cp\u003e• Assignable ¼” Tap Tempo and CV input\u003c\/p\u003e\n\u003cp\u003e• MIDI Control\u003c\/p\u003e\n\u003cp\u003e• 6 Waveshape LFO\u003c\/p\u003e\n\u003cp\u003e• Free VST\/AU\/RTAS editor (AAX coming soon)\u003c\/p\u003e\n\u003cp\u003e• Stereo Linkable\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePRELIMINARY SPECS:\u003c\/p\u003e\n\u003cp\u003e• Balanced line level via 500 rack. +19dBµ to -11dBµ\u003c\/p\u003e\n\u003cp\u003e• Input Impedance: 1MΩ Differential or single ended, common Mode 48KΩ.\u2028\u003c\/p\u003e\n\u003cp\u003e• Output Impedance: Nominally 50Ω differential 25Ω single ended.\u003c\/p\u003e\n\u003cp\u003e• Max. Output Level: Better than +22dBµ, balanced.\u003c\/p\u003e\n\u003cp\u003e• Drive Gain: 30dB Range of control\u003c\/p\u003e\n\u003cp\u003e• Output Gain: 30dB Range of control\u003c\/p\u003e\n\u003cp\u003e• Frequency Response: Better than +\/-0.5dB 20Hz – 20KHz pass band.  Better than +\/- 1.5dB 5Hz – 24KHz pass band.\u003c\/p\u003e\n\u003cp\u003e• Bypass: Hard Relay True Bypass\u003c\/p\u003e\n\u003cp\u003e• Power Consumption: 130mA +16V, \u0026lt;60mA -16V\u003c\/p\u003e\n\u003cp\u003e• Four NOS Panasonic Low Noise High Voltage BBDs\u003c\/p\u003e\n\u003cp\u003e• Premium \"esoteric\" TI\/Burr Brown OPA1644 Op amps used throughout the analog signal path.\u003c\/p\u003e\n\u003cp\u003e• Premium \"Metallized Polyphenylene-Sulphide Film capacitors in the filter section.\u003c\/p\u003e\n\u003cp\u003e• 2 Dual High quality Moog 6th order filters for anti alias and clock removal functions\u003c\/p\u003e\n\u003cp\u003e• Premium THAT high CMRR front end with Servo DC Nulling.\u003c\/p\u003e\n\u003cp\u003e• Premium THAT cross coupled differential drive output stage.\u003c\/p\u003e\n\u003cp\u003e• Ultra fast, low noise linear power supply regulators for the lowest noise possible in an analog delay.\u003c\/p\u003e\n\u003cp\u003e• Premium audiophile grade op amp upgrades though out for the lowest distortion and noise possible.\u003c\/p\u003e\n\u003cp\u003e• Upgraded High speed Low noise op amp upgrades for all CV and control sections.\u003c\/p\u003e\n\u003cp\u003e• Upgrades to the capacitors in all key sonic points to reduce microphonics, noise and improve sonic quality.\u003c\/p\u003e\n\u003cp\u003e• 2.5 - 3.5 times the sonic headroom and rails in the audio signal path.\u003c\/p\u003e\n\u003cp\u003e• Premium differential input and output sections utilizing DC servo modified THAT Corporation receivers and transmitters. (THAT In Genius 1200 Transformer simulating reviever with Moog designed DC servo offset removing, featuring over 1M input impedance and very high common mode rejection ratio, THAT Corp OutSmarts 1646  Balanced Line Driver for balanced transformer like floating outputs).\u003c\/p\u003e\n\u003cp\u003e• Ultra Low noise and fast transient response linear regulators and voltage isolation networks.  \u003c\/p\u003e\n\u003cp\u003e• Complete design re-visitation with many small tweaks and adjustments to significantly open the sonic filed, warmth, lower noise and improve the sonic quality.\u003c\/p\u003e\n\u003cp\u003e• True relay hard bypass.\u003c\/p\u003e\n\u003cp\u003e• Low noise and low distortion gain and mixing sections with less coloration and distortion in the gain and mixing sections.\u003c\/p\u003e\n\u003cp\u003e• Significantly lower noise, distortion, microphonics, and other objectionable artifacts due to improved components and design improvements.\u003c\/p\u003e\n\u003cp\u003e• No VCA in the input, output, or mixer sections for lowered noise, distortion and coloration\u003c\/p\u003e\n\u003cp\u003e• Stereo linking capability and firmware improvements for a wide variety of mono to stereo delay effects and and stereo I\/O capability\u003c\/p\u003e\n\u003cp\u003e• Improved and expanded LFO capabilities.\u003c\/p\u003e\n\u003cp\u003e• Lower distortion and higher accuracy BBD chain  due to the addition of 5 trimmer pots to dial in the BBD recombining balance and gain stage accuracy.\u003c\/p\u003e\n\u003cp\u003e• Improved high end MUX circuitry in the 6th order anti alias filters and clock removal filters for lower noise and distortion.\u003c\/p\u003e\n\u003cp\u003e• Added analog click track to tap tempo tracking.\u003c\/p\u003e\n\u003cp\u003e• Flexible assignable CV buss.\u003c\/p\u003e\n\u003cp\u003e• Improved signal monitoring chain\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e"}
Moog Analog Delay - a 500 Series BBD Delay for professional use

Moog Analog Delay - a 500 Series BBD Delay for professional use

$699.00

500 Series Analog Delay | Moog Music Inc INFO "F*cking Awesome" - Vance Powell (Jack White, Kings of Leon, DangerMouse) "The Moog 500 Delay has instantly become part of every mix I do.  It sounds great and the MIDI control is ridiculous!." - Andrew Scheps (Adelle, Jay -Z, Michael Jackson, The Mars Volta). Voted Pro Sound Network Best In S...


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{"id":8462297549,"title":"Moog The Ladder - a 500 Series Moog Ladder filter for professional audio use","handle":"500-lad","description":"\u003cdiv id=\"container\"\u003e\n\u003cdiv id=\"reader-header\" dir=\"ltr\"\u003e\n\u003ca id=\"reader-domain\" href=\"https:\/\/www.moogmusic.com\/products\/500-series\/500-series-ladder-filter\"\u003e\u003c\/a\u003e\n\u003ch1 id=\"reader-title\"\u003e500 Series Ladder Filter | Moog Music Inc\u003c\/h1\u003e\n\u003cdiv id=\"reader-credits\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"moz-reader-content\" dir=\"ltr\"\u003e\n\u003cdiv id=\"readability-page-1\" xml:base=\"https:\/\/www.moogmusic.com\/products\/500-series\/500-series-ladder-filter\"\u003e\n\u003cdiv id=\"info-tab\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eThe Ladder - Moog Music’s first 500 series module!\u003c\/p\u003e\n\u003cp\u003e\"That thing is endlessly deep. You could use it on about every instrument to make it more interesting or give it it’s own character… I could play with it for days\"  -Michael Wagener\u003c\/p\u003e\n\u003cp\u003e\"Its a really powerful tone shaping tool. While I thought I would be using it like one would use a filter in a modular synth, I found more varied positions for it to play as an EQ and subharmonic helper.  It's great for helping anemic drums explode, creating dub bass sounds and modern guitar textures.  Pretty awesome and a great companion to my old Moog 3 band Parametric EQ!\"  -Ryan Hewitt\u003c\/p\u003e\n\u003cp\u003e\"The Moog Ladder filters manage to marry the tone and tactile advantage of analog hardware with the flexibility of plugins. They have immediately become indispensable tools for shaping my sounds on the way to the DAW.\" -Fabrice Dupont\u003c\/p\u003e\n\u003cp\u003eThe Ladder is a Dynamic Transistor Ladder Filter that is based on Bob Moog's original ladder filter designs. Don't be fooled by its small size, The Ladder is a powerful and fantastic sound sculpting tool that allows for creative and unique sound shifting and shaping. By design, The Ladder sports the smoothest all analog Low Pass and High Pass filter section. Simply adjust the Cutoff knob to add vibe, warmth or tonal adjustment.  Choose LP to add analog vibe and warmth to a sound or select HP for sweetening and relieving the heft of a sound.\u003c\/p\u003e\n\u003cp\u003e The Envelope section of The Ladder is where things get really cool:\u003c\/p\u003e\n\u003cp\u003e -       Variable Attack and Release controls allow you to perfectly dial in the behavior of The Ladder's envelope section. Use these controls to open and close the envelope as fast as lightning, or slow as molasses.\u003c\/p\u003e\n\u003cp\u003e -       Use the Amount control in Positive or Negative mode for mild to extreme sound shaping and manipulation. From slight timbral excitement and voicing to extreme compression-like behavior. Even reversed filter action is achievable!\u003c\/p\u003e\n\u003cp\u003e -       The Resonance control used with The Ladder’s other features allows for the creation of sweet, dynamic and even speech like behavior. Use it to tune The Ladder to a sound source… or not. You can excite or accentuate specific frequencies as well as create completely new unique and wild sounds.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eNOTE: The Ladder's Resonance control will push the unit into self-oscillation. This can be used for effect if desired.\u003c\/p\u003e\n\u003cp\u003eThe 2Pole\/4Pole switch allows you to select how aggressive your filter slope is. 2 pole is equal to 12db per octave which is smooth and sweet, while 4 pole is 24db per octave which is hard and aggressive.\u003c\/p\u003e\n\u003cp\u003eYou also have a hard wire Bypass for totally transparent routing and A\/B comparison\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe Ladder isn't your average filter. It's a big step up\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"specs-tab\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eAudio I\/O: Balanced line level via 500 rack. +19dBµ to -16dBµ input accepted.\u003cbr\u003eFilter Type: 2 and 4 pole dynamic low-pass \u0026amp; high-pass transistor Ladder Filter\u003cbr\u003eEnvelope Type: RMS detector, bi-polar with variable attack \u0026amp; release\u003cbr\u003eAttack time:    Better than 250µS to 2.0 seconds depending on program material and level.\u003cbr\u003eRelease time:  Better than 150mS to 2.0S depending on program material and level.\u003cbr\u003eEnvelope Control: Positive and Negative Modulation\u003cbr\u003eInput Impedance: Nominally 24KΩ balanced differential, 12KΩ unbalanced single ended.\u003cbr\u003eOutput Impedance: Nominally 50Ω  differential 25Ω single ended.\u003cbr\u003eMax. Output Level: Better than +22dBµ, balanced.\u003cbr\u003eDrive Gain: 36dB Range of control\u003cbr\u003eOutput Gain: 36dB Range of control\u003cbr\u003eFrequency Response: Better than +\/-0.5dB 20Hz – 20KHz pass band.  Better than +\/- 1.5dB 5Hz – 24KHz pass band.\u003cbr\u003eBypass: Hard Relay True Bypass\u003cbr\u003ePower Consumption: Less than 105mA +16V, less than 75mA -16V.\u003c\/p\u003e\n\u003cp\u003e*Specifications subject to change without notice\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e","published_at":"2016-11-19T19:06:00+02:00","created_at":"2016-11-19T19:13:28+02:00","vendor":"Moog","type":"500 Series","tags":["500 Series Processors","Moog","Other 500 Series Processors","Price Range_$300 to $500","Shop by brand_Moog","Shop by category_500 Series","Shop by category_Other 500 Series Processors","Studio \u0026 Recording"],"price":49900,"price_min":49900,"price_max":49900,"available":true,"price_varies":false,"compare_at_price":49900,"compare_at_price_min":49900,"compare_at_price_max":49900,"compare_at_price_varies":false,"variants":[{"id":28589988045,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"500-LAD","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Moog The Ladder - a 500 Series Moog Ladder filter for professional audio use","public_title":null,"options":["Default Title"],"price":49900,"weight":0,"compare_at_price":49900,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/500_20series_20Ladder_20Filter.jpg?v=1479575659","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/500_20series_20Ladder_20Filter_202.jpg?v=1479575673","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/500_20series_20Ladder_20Filter_203.jpg?v=1479575683","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/Moog_20Ladder_20resonance_20and_20cutoff.jpg?v=1479575694","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/Moog_20Ladder_20drive_20and_20output.jpg?v=1479575704"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/500_20series_20Ladder_20Filter.jpg?v=1479575659","options":["Title"],"content":"\u003cdiv id=\"container\"\u003e\n\u003cdiv id=\"reader-header\" dir=\"ltr\"\u003e\n\u003ca id=\"reader-domain\" href=\"https:\/\/www.moogmusic.com\/products\/500-series\/500-series-ladder-filter\"\u003e\u003c\/a\u003e\n\u003ch1 id=\"reader-title\"\u003e500 Series Ladder Filter | Moog Music Inc\u003c\/h1\u003e\n\u003cdiv id=\"reader-credits\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"moz-reader-content\" dir=\"ltr\"\u003e\n\u003cdiv id=\"readability-page-1\" xml:base=\"https:\/\/www.moogmusic.com\/products\/500-series\/500-series-ladder-filter\"\u003e\n\u003cdiv id=\"info-tab\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eThe Ladder - Moog Music’s first 500 series module!\u003c\/p\u003e\n\u003cp\u003e\"That thing is endlessly deep. You could use it on about every instrument to make it more interesting or give it it’s own character… I could play with it for days\"  -Michael Wagener\u003c\/p\u003e\n\u003cp\u003e\"Its a really powerful tone shaping tool. While I thought I would be using it like one would use a filter in a modular synth, I found more varied positions for it to play as an EQ and subharmonic helper.  It's great for helping anemic drums explode, creating dub bass sounds and modern guitar textures.  Pretty awesome and a great companion to my old Moog 3 band Parametric EQ!\"  -Ryan Hewitt\u003c\/p\u003e\n\u003cp\u003e\"The Moog Ladder filters manage to marry the tone and tactile advantage of analog hardware with the flexibility of plugins. They have immediately become indispensable tools for shaping my sounds on the way to the DAW.\" -Fabrice Dupont\u003c\/p\u003e\n\u003cp\u003eThe Ladder is a Dynamic Transistor Ladder Filter that is based on Bob Moog's original ladder filter designs. Don't be fooled by its small size, The Ladder is a powerful and fantastic sound sculpting tool that allows for creative and unique sound shifting and shaping. By design, The Ladder sports the smoothest all analog Low Pass and High Pass filter section. Simply adjust the Cutoff knob to add vibe, warmth or tonal adjustment.  Choose LP to add analog vibe and warmth to a sound or select HP for sweetening and relieving the heft of a sound.\u003c\/p\u003e\n\u003cp\u003e The Envelope section of The Ladder is where things get really cool:\u003c\/p\u003e\n\u003cp\u003e -       Variable Attack and Release controls allow you to perfectly dial in the behavior of The Ladder's envelope section. Use these controls to open and close the envelope as fast as lightning, or slow as molasses.\u003c\/p\u003e\n\u003cp\u003e -       Use the Amount control in Positive or Negative mode for mild to extreme sound shaping and manipulation. From slight timbral excitement and voicing to extreme compression-like behavior. Even reversed filter action is achievable!\u003c\/p\u003e\n\u003cp\u003e -       The Resonance control used with The Ladder’s other features allows for the creation of sweet, dynamic and even speech like behavior. Use it to tune The Ladder to a sound source… or not. You can excite or accentuate specific frequencies as well as create completely new unique and wild sounds.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eNOTE: The Ladder's Resonance control will push the unit into self-oscillation. This can be used for effect if desired.\u003c\/p\u003e\n\u003cp\u003eThe 2Pole\/4Pole switch allows you to select how aggressive your filter slope is. 2 pole is equal to 12db per octave which is smooth and sweet, while 4 pole is 24db per octave which is hard and aggressive.\u003c\/p\u003e\n\u003cp\u003eYou also have a hard wire Bypass for totally transparent routing and A\/B comparison\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe Ladder isn't your average filter. It's a big step up\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"specs-tab\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eAudio I\/O: Balanced line level via 500 rack. +19dBµ to -16dBµ input accepted.\u003cbr\u003eFilter Type: 2 and 4 pole dynamic low-pass \u0026amp; high-pass transistor Ladder Filter\u003cbr\u003eEnvelope Type: RMS detector, bi-polar with variable attack \u0026amp; release\u003cbr\u003eAttack time:    Better than 250µS to 2.0 seconds depending on program material and level.\u003cbr\u003eRelease time:  Better than 150mS to 2.0S depending on program material and level.\u003cbr\u003eEnvelope Control: Positive and Negative Modulation\u003cbr\u003eInput Impedance: Nominally 24KΩ balanced differential, 12KΩ unbalanced single ended.\u003cbr\u003eOutput Impedance: Nominally 50Ω  differential 25Ω single ended.\u003cbr\u003eMax. Output Level: Better than +22dBµ, balanced.\u003cbr\u003eDrive Gain: 36dB Range of control\u003cbr\u003eOutput Gain: 36dB Range of control\u003cbr\u003eFrequency Response: Better than +\/-0.5dB 20Hz – 20KHz pass band.  Better than +\/- 1.5dB 5Hz – 24KHz pass band.\u003cbr\u003eBypass: Hard Relay True Bypass\u003cbr\u003ePower Consumption: Less than 105mA +16V, less than 75mA -16V.\u003c\/p\u003e\n\u003cp\u003e*Specifications subject to change without notice\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e"}
Moog The Ladder - a 500 Series Moog Ladder filter for professional audio use

Moog The Ladder - a 500 Series Moog Ladder filter for professional audio use

$499.00

500 Series Ladder Filter | Moog Music Inc The Ladder - Moog Music’s first 500 series module! "That thing is endlessly deep. You could use it on about every instrument to make it more interesting or give it it’s own character… I could play with it for days"  -Michael Wagener "Its a really powerful tone shaping tool. While I thought I w...


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Rupert Neve Designs 511 Mic Pre with Sweepable HPF, Variable Silk
{"id":8435988621,"title":"Rupert Neve Designs 511 Mic Pre with Sweepable HPF, Variable Silk","handle":"511-mic-pre-with-sweepable-hpf-variable-silk","description":"\u003cbr\u003e511 - Rupert Neve Mic Pre with Texture for the 500 Series\u003cbr\u003e\u003cbr\u003eWith a big, bold preamp and the flexibility of variable Silk\/Texture, Rupert Neve designed the 511 to combine classic sonics with 500-series value. Incorporating the 517’s powerful preamp, the 5012’s universally useful sweepable high pass filter, and the transformer-saturating power of a variable silk circuit derived from our flagship Portico II Channel, the 511 is a Rupert Neve-designed micpre for the masses.\u003cbr\u003eDesigned for 500 Series by Mr. Rupert Neve\u003cbr\u003e\u003cbr\u003eRupert Neve: \"While creating functional 500 series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500-Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest caliber.\"\u003cbr\u003eInput Section\u003cbr\u003e\u003cbr\u003eInput signals may be derived from Mic or Line sources (make sure 48V is off for line sources!). The input has a 10K Ω non-reactive input resistance that handles a full 22dBu signal without the need for a pad. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability. A primary gain control provides 66dB of gain in 6dB increments for easy recall, with a +\/- 6dB trim for fine adjustment. For condenser microphones and powered DIs, there is +48V phantom power. A transient-optimized HPF continuously covering the range from 20-250Hz is included to tame rumble and proximity effect.\u003cbr\u003eTexture\u003cbr\u003e\u003cbr\u003eOne of the key developments in the 511 is the Red Silk \/ Texture control from the Portico II Channel. Building on the \"Silk\" mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing wide range of tonal options for the preamplifier. Like the original Portico Silk, the Silk Red \/ Texture works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. With the 511, the Texture control allows these techniques to be pushed further than previous designs, adding about 10 times the desirable THD of the original silk control at its maximum setting.\u003cbr\u003e\u003cbr\u003eWith that said, we have taken great care to ensure that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may \"incinerate\", \"demolish\" or \"destroy\" source material), and we believe they can be confidently utilized to fit the personality of any song, instrument or engineer.\u003cbr\u003eLow Noise, Low Distortion Operation\u003cbr\u003e\u003cbr\u003eMuch care was given in designing the 511 to produce as little noise and non-harmonic distortion as possible. Carefully implemented signal paths and Class A operation are a large part of the 511’s sweet, whisper quiet performance. For more information, go to Mr. Rupert Neve’s Design Notes.\u003cbr\u003eWhy Transformers?\u003cbr\u003e\u003cbr\u003eA complete discussion on transformers is out of place at this point, but it is helpful to review some of the essentials where it will be seen that a design needs to be viewed as a whole, not simply from the point of view of a single component.\u003cbr\u003e\u003cbr\u003eThe fine subtleties of circuit design relating to sonic performance are gradually becoming more clearly understood. For example, research has shown conclusively that frequencies above 20 kHz affect the way in which humans perceive sound quality. But, long before scientific evidence emerged a substantial body of musicians and engineers knew that equipment with apparently the same technical measurements could sound very different.\u003cbr\u003e\u003cbr\u003eIncredibly small amounts of musically dissonant odd harmonics have a disastrous effect on the sound quality. Extraneous noise or interference that finds its way into a signal path seriously impairs performance of the whole chain.\u003cbr\u003e\u003cbr\u003eMany control rooms make use of outboard gear that is not well protected from external signals. Poor grounding of such equipment can be a serious problem. \"Electronically balanced\" circuits much used in modern equipment, can give very good measurements on the test bench but they do not provide adequate rejection of the stray fields found in every working environment.\u003cbr\u003e\u003cbr\u003eInput and output circuits must be freed from ground dependence so that only the \"wanted\" signal enters and leaves the processing path. Transformers are the ideal solution. The sweet and silky sound of my classic old favorite consoles was achieved with big transistors and large high quality transformers. Rupert Neve Designs Portico modules achieve similar quality today without the bulk or the cost.\u003cbr\u003e\u003cbr\u003eIn order that modules can work together as would be expected (i.e. in a proprietary console configuration) without producing hum, R.F. interference, or other interactions, the connecting interfaces, grounding, levels and impedances must receive careful attention. Each of our Portico and 500-Series modules is a complete integral signal processor that delivers its specified performance independently. This is one of the reasons we use transformers.","published_at":"2016-11-12T18:33:00+02:00","created_at":"2016-11-12T18:38:30+02:00","vendor":"Rupert Neve Designs","type":"500 Series","tags":["500 Series Preamps","500 Series Processors","Price Range_$500 to $750","Rupert Neve Designs","Shop by brand_Rupert Neve Designs","Shop by category_500 Series","Shop by category_500 Series Preamps","Shop by category_Preamps","Studio \u0026 Recording"],"price":54500,"price_min":54500,"price_max":54500,"available":true,"price_varies":false,"compare_at_price":64900,"compare_at_price_min":64900,"compare_at_price_max":64900,"compare_at_price_varies":false,"variants":[{"id":28462181581,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"511 Mic Pre with Sweepable HPF, Variable Silk","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Rupert Neve Designs 511 Mic Pre with Sweepable HPF, Variable Silk","public_title":null,"options":["Default Title"],"price":54500,"weight":0,"compare_at_price":64900,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/511-slight-angle-cut-no-r-799x1024.jpg?v=1479058255","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/511-description-1024x667.jpg?v=1479058313","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/hands-2-929x1024.jpg?v=1479058353","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/basket-1024x699.jpg?v=1479058390","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/511-slight-angle-578x1024.jpg?v=1479058410","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/511-straight-752x1024.jpg?v=1479058444","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/1899834_10152491715626940_6890927119766271362_o-1024x683_0ca629ad-ce4a-4603-9e02-aec460c38db4.jpg?v=1479058476","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/511-web-new-1024x383.jpg?v=1479058513"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/511-slight-angle-cut-no-r-799x1024.jpg?v=1479058255","options":["Title"],"content":"\u003cbr\u003e511 - Rupert Neve Mic Pre with Texture for the 500 Series\u003cbr\u003e\u003cbr\u003eWith a big, bold preamp and the flexibility of variable Silk\/Texture, Rupert Neve designed the 511 to combine classic sonics with 500-series value. Incorporating the 517’s powerful preamp, the 5012’s universally useful sweepable high pass filter, and the transformer-saturating power of a variable silk circuit derived from our flagship Portico II Channel, the 511 is a Rupert Neve-designed micpre for the masses.\u003cbr\u003eDesigned for 500 Series by Mr. Rupert Neve\u003cbr\u003e\u003cbr\u003eRupert Neve: \"While creating functional 500 series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500-Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest caliber.\"\u003cbr\u003eInput Section\u003cbr\u003e\u003cbr\u003eInput signals may be derived from Mic or Line sources (make sure 48V is off for line sources!). The input has a 10K Ω non-reactive input resistance that handles a full 22dBu signal without the need for a pad. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability. A primary gain control provides 66dB of gain in 6dB increments for easy recall, with a +\/- 6dB trim for fine adjustment. For condenser microphones and powered DIs, there is +48V phantom power. A transient-optimized HPF continuously covering the range from 20-250Hz is included to tame rumble and proximity effect.\u003cbr\u003eTexture\u003cbr\u003e\u003cbr\u003eOne of the key developments in the 511 is the Red Silk \/ Texture control from the Portico II Channel. Building on the \"Silk\" mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing wide range of tonal options for the preamplifier. Like the original Portico Silk, the Silk Red \/ Texture works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. With the 511, the Texture control allows these techniques to be pushed further than previous designs, adding about 10 times the desirable THD of the original silk control at its maximum setting.\u003cbr\u003e\u003cbr\u003eWith that said, we have taken great care to ensure that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may \"incinerate\", \"demolish\" or \"destroy\" source material), and we believe they can be confidently utilized to fit the personality of any song, instrument or engineer.\u003cbr\u003eLow Noise, Low Distortion Operation\u003cbr\u003e\u003cbr\u003eMuch care was given in designing the 511 to produce as little noise and non-harmonic distortion as possible. Carefully implemented signal paths and Class A operation are a large part of the 511’s sweet, whisper quiet performance. For more information, go to Mr. Rupert Neve’s Design Notes.\u003cbr\u003eWhy Transformers?\u003cbr\u003e\u003cbr\u003eA complete discussion on transformers is out of place at this point, but it is helpful to review some of the essentials where it will be seen that a design needs to be viewed as a whole, not simply from the point of view of a single component.\u003cbr\u003e\u003cbr\u003eThe fine subtleties of circuit design relating to sonic performance are gradually becoming more clearly understood. For example, research has shown conclusively that frequencies above 20 kHz affect the way in which humans perceive sound quality. But, long before scientific evidence emerged a substantial body of musicians and engineers knew that equipment with apparently the same technical measurements could sound very different.\u003cbr\u003e\u003cbr\u003eIncredibly small amounts of musically dissonant odd harmonics have a disastrous effect on the sound quality. Extraneous noise or interference that finds its way into a signal path seriously impairs performance of the whole chain.\u003cbr\u003e\u003cbr\u003eMany control rooms make use of outboard gear that is not well protected from external signals. Poor grounding of such equipment can be a serious problem. \"Electronically balanced\" circuits much used in modern equipment, can give very good measurements on the test bench but they do not provide adequate rejection of the stray fields found in every working environment.\u003cbr\u003e\u003cbr\u003eInput and output circuits must be freed from ground dependence so that only the \"wanted\" signal enters and leaves the processing path. Transformers are the ideal solution. The sweet and silky sound of my classic old favorite consoles was achieved with big transistors and large high quality transformers. Rupert Neve Designs Portico modules achieve similar quality today without the bulk or the cost.\u003cbr\u003e\u003cbr\u003eIn order that modules can work together as would be expected (i.e. in a proprietary console configuration) without producing hum, R.F. interference, or other interactions, the connecting interfaces, grounding, levels and impedances must receive careful attention. Each of our Portico and 500-Series modules is a complete integral signal processor that delivers its specified performance independently. This is one of the reasons we use transformers."}
Rupert Neve Designs 511 Mic Pre with Sweepable HPF, Variable Silk

Rupert Neve Designs 511 Mic Pre with Sweepable HPF, Variable Silk

$545.00

511 - Rupert Neve Mic Pre with Texture for the 500 SeriesWith a big, bold preamp and the flexibility of variable Silk/Texture, Rupert Neve designed the 511 to combine classic sonics with 500-series value. Incorporating the 517’s powerful preamp, the 5012’s universally useful sweepable high pass filter, and the transformer-saturating power of a v...


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Rupert Neve Designs 517 Mic Pre / DI / Compressor with Vari-phase
{"id":8435996045,"title":"Rupert Neve Designs 517 Mic Pre \/ DI \/ Compressor with Vari-phase","handle":"517-mic-pre-di-compressor-with-vari-phase","description":"\u003cbr\u003e517 - Rupert Neve\u003cbr\u003e\u003cbr\u003eBased on the Portico 5017 Mobile Pre, the 517 provides world-class transformer-coupled micpreamp, compressor and DI circuitry with Vari-phase, \"Silk\" and DI\/mic blending capabilities – all in a single 500 series module.\u003cbr\u003eMic Pre and Instrument Amplifier\u003cbr\u003e\u003cbr\u003eThe 517’s mic pre – based on the TEC Award-winning Portico 5017 – provides up to 66dB of gain, polarity-reverse and phantom power switches, and the \"Silk\" circuit for a more vintage vibe. The separate instrument amplifier includes 30dB of gain, a ground lift, variable phase and an instrument Thru connection.\u003cbr\u003eBlended Use\u003cbr\u003e\u003cbr\u003eUsed as a single channel device for instruments, the 517 can be used to phase align, combine and compress direct and amplified signals. To achieve this, use the DI for the instrument’s direct signal and the mic preamp for the speaker cabinet signal. The blend control is used for mixing direct and amplified signals to achieve the desired tonal blend between the two sources, and the variphase is used to minimize or extenuate phase cancellations between the two signals. To compress the blended signal, the internal compressor jumper must be set to the blend path (this is the default setting). This technique could also be used to create a single, mixed output of a guitar and vocals.\u003cbr\u003eThe Compressor\u003cbr\u003e\u003cbr\u003eBased around a new LDR (light dependent resister) design, the 517’s opto-coupler compressor has been simplified to a single threshold control with auto make up gain. By default, the compressor is set to a fixed 2:1 ratio with fixed attack and release. To set the compressor, simply dial the threshold control down until the desired amount of compression is achieved. An LED light indicates when the compressor is active.\u003cbr\u003eVari-Phase\u003cbr\u003e\u003cbr\u003eIn addition to the standard polarity reverse, the 517’s vari-phase control may be used to adjust phase incrementally. This control is useful any time two signals derived from the same source are combined.\u003cbr\u003e\u003cbr\u003eFor instance, even with careful placement, the combination of close miced drums and overheads, can often yield hollow-sounding results. By using the variable phase adjust, the direct signal can be phase rotated until the signals are naturally aligned.\u003cbr\u003e\u003cbr\u003eThis technique is also extremely useful when combined with the internal blend control on instruments. A bassist or guitarist using both direct and mic’d signals can blend the two into a single output, using the variable phase to reach an optimal alignment. By adjusting the phase in the 517, the musician or engineer can find the absolute best mic position without regard to the phase relation to the direct signal.\u003cbr\u003eCompression\u003cbr\u003e\u003cbr\u003eFor signals below the \"threshold\" level that has been set, a compressor provides a linear path allowing signals to be amplified without the gain being adjusted in any way. When signals exceed the \"threshold\" level, the gain is reduced in a controlled manner that depends on the Ratio that has been set.\u003cbr\u003eGain\u003cbr\u003e\u003cbr\u003eGAIN range provided is from -6dB to +20 dB. As already noted, when compression has taken place, it may be necessary to increase the overall gain to restore the apparent program level\u003cbr\u003ePeak\u003cbr\u003e\u003cbr\u003eWhen engaged, the 543 uses a combination of peak and RMS (average) detection to determine level. When disengaged, it follows just RMS.\u003cbr\u003eSC HPF\u003cbr\u003e\u003cbr\u003eIntroduces a HPF at 250Hz to the VCA side chain signal. This allows the compressor to disregard sustained low frequency content.\u003cbr\u003eRatio\u003cbr\u003e\u003cbr\u003eRange from 1:1 to LIMIT (i.e. 40:1)\u003cbr\u003eThreshold\u003cbr\u003e\u003cbr\u003eRange from -30dBu to +20dBU\u003cbr\u003eAttack Time\u003cbr\u003e\u003cbr\u003eRange from 20 mS to 75 mS.\u003cbr\u003eRelease \/ Recovery Time\u003cbr\u003e\u003cbr\u003eRange of RELEASE time is 100 mS to 2.5 Seconds.\u003cbr\u003eStereo Operation\u003cbr\u003e\u003cbr\u003eWhen the LINK switch is engaged on two 543 modules and settings are approximately the same values, GAIN reduction on both channels will be the same to preserve stereo balance and position. This will work properly in link buss enabled 500 series racks, or by hardwiring two 543 modules link busses together in non-compatible racks.\u003cbr\u003eDucking\u003cbr\u003e\u003cbr\u003eWhen the LINK switch is engaged on two connected 543 modules, the signal passing through the first module may be used to control the amplitude of a second module. For example, the level of music through channel A can be controlled by speech on channel B, i.e. reducing the music level to make a \"speech-over\" announcement.\u003cbr\u003eMeters\u003cbr\u003e\u003cbr\u003eTwo Peak LED METERS are provided that show OUTPUT LEVEL and GAIN REDUCTION.\u003cbr\u003e\u003cbr\u003eOutput level meter covers the range from -10 to +22 dBu and above which is regarded as overload.\u003cbr\u003e\u003cbr\u003eREDUCTION is calibrated in dB covering the range +1 to 22 dBu, reading from right to left,\u003cbr\u003eGain Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 6 dB to +20 dB.\u003cbr\u003eThreshold Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 36 dB to +22 dB.\u003cbr\u003eRatio Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 1.1:1 to Limit (40:1).\u003cbr\u003eAttack Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 20mS to 75mS\u003cbr\u003eRelease Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 100mS to 2.5 Seconds.\u003cbr\u003eFF\/FB:\u003cbr\u003e\u003cbr\u003eFeed-Forward or Feed-Back VCA control.\u003cbr\u003eMaximum Output Level:\u003cbr\u003e\u003cbr\u003eBalanced and Floating Transformer Output\u003cbr\u003eMaximum output from 20 Hz to 40 kHz is +23 dBu.\u003cbr\u003eTotal Harmonic Distortion and Noise:\u003cbr\u003e\u003cbr\u003e@ 1kHz, +20 dBu output level, no load.\u003cbr\u003e\u003cbr\u003eMain Output, compressor bypassed\u003cbr\u003eBetter than 0.0006%.\u003cbr\u003e\u003cbr\u003eMain Output, compressor engaged\u003cbr\u003eBetter than 0.02%\u003cbr\u003e\u003cbr\u003eNoise:\u003cbr\u003eMeasured at Main Output, un-weighted, 22Hz-22kHz, Terminated 40 Ohms.\u003cbr\u003eWith Gain at Unity, Compressor disengaged\u003cbr\u003eBetter than 103 dBu.\u003cbr\u003eWith Gain at Unity, Compressor engaged:\u003cbr\u003eBetter than 92 dBu\u003cbr\u003eFrequency Response:\u003cbr\u003e\u003cbr\u003eMain Output, Unity Gain\u003cbr\u003e@ 18 Hz, +\/- .1dB\u003cbr\u003e@ 150 kHz -3 dB.\u003cbr\u003eCrosstalk\u003cbr\u003e\u003cbr\u003eMeasured Channel to Channel:\u003cbr\u003eBetter than 90 dB @ 15kHz.\u003cbr\u003eMETERS:\u003cbr\u003e\u003cbr\u003eMonitor INPUT LEVEL and GAIN REDUCTION","published_at":"2016-11-12T18:39:00+02:00","created_at":"2016-11-12T18:42:24+02:00","vendor":"Rupert Neve Designs","type":"500 Series","tags":["500 Series Preamps","500 Series Processors","Price Range_$750 to $1000","Rupert Neve Designs","Shop by brand_Rupert Neve Designs","Shop by category_500 Series","Shop by category_500 Series Preamps","Shop by category_Preamps","Studio \u0026 Recording"],"price":75900,"price_min":75900,"price_max":75900,"available":true,"price_varies":false,"compare_at_price":95000,"compare_at_price_min":95000,"compare_at_price_max":95000,"compare_at_price_varies":false,"variants":[{"id":28462221645,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"517 Mic Pre \/ DI \/ Compressor with Vari-phase","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Rupert Neve Designs 517 Mic Pre \/ DI \/ Compressor with Vari-phase","public_title":null,"options":["Default Title"],"price":75900,"weight":0,"compare_at_price":95000,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/517-slight-angle1-678x1024.jpg?v=1500911107","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/517-straight-new-594x1024.jpg?v=1500911107","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/517-description-2-1024x803.jpg?v=1500911107","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/untitled--678x1024.jpg?v=1500911107","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/hands-2-929x1024_f3d65366-8604-4c35-a232-bfa5a2c625bc.jpg?v=1500911107","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/basket-1024x699_9cdc4e32-8419-4693-8b18-5460be5a9480.jpg?v=1500911107"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/517-slight-angle1-678x1024.jpg?v=1500911107","options":["Title"],"content":"\u003cbr\u003e517 - Rupert Neve\u003cbr\u003e\u003cbr\u003eBased on the Portico 5017 Mobile Pre, the 517 provides world-class transformer-coupled micpreamp, compressor and DI circuitry with Vari-phase, \"Silk\" and DI\/mic blending capabilities – all in a single 500 series module.\u003cbr\u003eMic Pre and Instrument Amplifier\u003cbr\u003e\u003cbr\u003eThe 517’s mic pre – based on the TEC Award-winning Portico 5017 – provides up to 66dB of gain, polarity-reverse and phantom power switches, and the \"Silk\" circuit for a more vintage vibe. The separate instrument amplifier includes 30dB of gain, a ground lift, variable phase and an instrument Thru connection.\u003cbr\u003eBlended Use\u003cbr\u003e\u003cbr\u003eUsed as a single channel device for instruments, the 517 can be used to phase align, combine and compress direct and amplified signals. To achieve this, use the DI for the instrument’s direct signal and the mic preamp for the speaker cabinet signal. The blend control is used for mixing direct and amplified signals to achieve the desired tonal blend between the two sources, and the variphase is used to minimize or extenuate phase cancellations between the two signals. To compress the blended signal, the internal compressor jumper must be set to the blend path (this is the default setting). This technique could also be used to create a single, mixed output of a guitar and vocals.\u003cbr\u003eThe Compressor\u003cbr\u003e\u003cbr\u003eBased around a new LDR (light dependent resister) design, the 517’s opto-coupler compressor has been simplified to a single threshold control with auto make up gain. By default, the compressor is set to a fixed 2:1 ratio with fixed attack and release. To set the compressor, simply dial the threshold control down until the desired amount of compression is achieved. An LED light indicates when the compressor is active.\u003cbr\u003eVari-Phase\u003cbr\u003e\u003cbr\u003eIn addition to the standard polarity reverse, the 517’s vari-phase control may be used to adjust phase incrementally. This control is useful any time two signals derived from the same source are combined.\u003cbr\u003e\u003cbr\u003eFor instance, even with careful placement, the combination of close miced drums and overheads, can often yield hollow-sounding results. By using the variable phase adjust, the direct signal can be phase rotated until the signals are naturally aligned.\u003cbr\u003e\u003cbr\u003eThis technique is also extremely useful when combined with the internal blend control on instruments. A bassist or guitarist using both direct and mic’d signals can blend the two into a single output, using the variable phase to reach an optimal alignment. By adjusting the phase in the 517, the musician or engineer can find the absolute best mic position without regard to the phase relation to the direct signal.\u003cbr\u003eCompression\u003cbr\u003e\u003cbr\u003eFor signals below the \"threshold\" level that has been set, a compressor provides a linear path allowing signals to be amplified without the gain being adjusted in any way. When signals exceed the \"threshold\" level, the gain is reduced in a controlled manner that depends on the Ratio that has been set.\u003cbr\u003eGain\u003cbr\u003e\u003cbr\u003eGAIN range provided is from -6dB to +20 dB. As already noted, when compression has taken place, it may be necessary to increase the overall gain to restore the apparent program level\u003cbr\u003ePeak\u003cbr\u003e\u003cbr\u003eWhen engaged, the 543 uses a combination of peak and RMS (average) detection to determine level. When disengaged, it follows just RMS.\u003cbr\u003eSC HPF\u003cbr\u003e\u003cbr\u003eIntroduces a HPF at 250Hz to the VCA side chain signal. This allows the compressor to disregard sustained low frequency content.\u003cbr\u003eRatio\u003cbr\u003e\u003cbr\u003eRange from 1:1 to LIMIT (i.e. 40:1)\u003cbr\u003eThreshold\u003cbr\u003e\u003cbr\u003eRange from -30dBu to +20dBU\u003cbr\u003eAttack Time\u003cbr\u003e\u003cbr\u003eRange from 20 mS to 75 mS.\u003cbr\u003eRelease \/ Recovery Time\u003cbr\u003e\u003cbr\u003eRange of RELEASE time is 100 mS to 2.5 Seconds.\u003cbr\u003eStereo Operation\u003cbr\u003e\u003cbr\u003eWhen the LINK switch is engaged on two 543 modules and settings are approximately the same values, GAIN reduction on both channels will be the same to preserve stereo balance and position. This will work properly in link buss enabled 500 series racks, or by hardwiring two 543 modules link busses together in non-compatible racks.\u003cbr\u003eDucking\u003cbr\u003e\u003cbr\u003eWhen the LINK switch is engaged on two connected 543 modules, the signal passing through the first module may be used to control the amplitude of a second module. For example, the level of music through channel A can be controlled by speech on channel B, i.e. reducing the music level to make a \"speech-over\" announcement.\u003cbr\u003eMeters\u003cbr\u003e\u003cbr\u003eTwo Peak LED METERS are provided that show OUTPUT LEVEL and GAIN REDUCTION.\u003cbr\u003e\u003cbr\u003eOutput level meter covers the range from -10 to +22 dBu and above which is regarded as overload.\u003cbr\u003e\u003cbr\u003eREDUCTION is calibrated in dB covering the range +1 to 22 dBu, reading from right to left,\u003cbr\u003eGain Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 6 dB to +20 dB.\u003cbr\u003eThreshold Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 36 dB to +22 dB.\u003cbr\u003eRatio Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 1.1:1 to Limit (40:1).\u003cbr\u003eAttack Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 20mS to 75mS\u003cbr\u003eRelease Range:\u003cbr\u003e\u003cbr\u003eContinuously variable from 100mS to 2.5 Seconds.\u003cbr\u003eFF\/FB:\u003cbr\u003e\u003cbr\u003eFeed-Forward or Feed-Back VCA control.\u003cbr\u003eMaximum Output Level:\u003cbr\u003e\u003cbr\u003eBalanced and Floating Transformer Output\u003cbr\u003eMaximum output from 20 Hz to 40 kHz is +23 dBu.\u003cbr\u003eTotal Harmonic Distortion and Noise:\u003cbr\u003e\u003cbr\u003e@ 1kHz, +20 dBu output level, no load.\u003cbr\u003e\u003cbr\u003eMain Output, compressor bypassed\u003cbr\u003eBetter than 0.0006%.\u003cbr\u003e\u003cbr\u003eMain Output, compressor engaged\u003cbr\u003eBetter than 0.02%\u003cbr\u003e\u003cbr\u003eNoise:\u003cbr\u003eMeasured at Main Output, un-weighted, 22Hz-22kHz, Terminated 40 Ohms.\u003cbr\u003eWith Gain at Unity, Compressor disengaged\u003cbr\u003eBetter than 103 dBu.\u003cbr\u003eWith Gain at Unity, Compressor engaged:\u003cbr\u003eBetter than 92 dBu\u003cbr\u003eFrequency Response:\u003cbr\u003e\u003cbr\u003eMain Output, Unity Gain\u003cbr\u003e@ 18 Hz, +\/- .1dB\u003cbr\u003e@ 150 kHz -3 dB.\u003cbr\u003eCrosstalk\u003cbr\u003e\u003cbr\u003eMeasured Channel to Channel:\u003cbr\u003eBetter than 90 dB @ 15kHz.\u003cbr\u003eMETERS:\u003cbr\u003e\u003cbr\u003eMonitor INPUT LEVEL and GAIN REDUCTION"}
Rupert Neve Designs 517 Mic Pre / DI / Compressor with Vari-phase

Rupert Neve Designs 517 Mic Pre / DI / Compressor with Vari-phase

$759.00

517 - Rupert NeveBased on the Portico 5017 Mobile Pre, the 517 provides world-class transformer-coupled micpreamp, compressor and DI circuitry with Vari-phase, "Silk" and DI/mic blending capabilities – all in a single 500 series module.Mic Pre and Instrument AmplifierThe 517’s mic pre – based on the TEC Award-winning Portico 5017 – provides up t...


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Rupert Neve Designs 5285-RM 9-way Vertical Frame

Rupert Neve Designs 5285-RM 9-way Vertical Frame

$599.95

An 8-way, 6U, metal rack for vertical half-rack Portico and Shelford Series Modules


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{"id":177001398298,"title":"Rupert Neve Designs 535 Diode Bridge Compressor","handle":"rupert-neve-designs-535-diode-bridge-compressor","description":"535\u003cbr\u003eDiode Bridge Compressor\u003cbr\u003e\u003cbr\u003ePunchy, thick and versatile, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities. Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 is outfitted with Rupert Neve Designs’ custom transformers and class-A output amplifiers, all tailor-made for the popular 500-series format. \u003cbr\u003e\u003cbr\u003eAlmost 50 years after Mr. Rupert Neve created his first diode bridge compressor designs, the 535 reimagines the larger-than-life personality of these classic circuits with new levels of precision and adaptability, helping virtually any track shine through a mix.\u003cbr\u003e\u003cbr\u003eThe Diode Bridge\u003cbr\u003eWhere the VCA compressor found in the 543 and Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix. Mr. Rupert Neve’s original diode bridge compressors like the 2254 served as an inspiration for the design of the 535. By understanding the limitations of the original 2254 topology, painstaking effort was taken to reproduce the unique tone of the 2254 while improving the noise floor, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, widening the range of threshold and ratio controls, and raising the headroom of the diode bridge itself. Delivering the powerful sound of these classic designs with enhanced flexibility for the modern age, the 535 is a dynamic tool equipped to make a statement on virtually any track. \u003cbr\u003e\u003cbr\u003eTiming is Everything\u003cbr\u003eThe unified TIMING control is comprised of six selectable settings, carefully chosen for different applications – a major departure from the fixed attack of the 2254. FAST and MF settings are designed to help clamp down on more transient signals like drums, plucked string instruments and fast vocals. MED and MS have slightly slower attacks and releases which can allow more transients through while having a slightly longer recovery. Lastly, SLOW and AUTO are both significantly slower, and are designed for smoother level control.\u003cbr\u003eFAST mode increases the speed of both attack and release for each setting, effectively doubling the number of time constants from 6 to 12. The FAST mode also allows for a dramatic increase in speed as compared to the 535’s renowned ancestors, providing significantly more tonal \u0026amp; operational versatility.\u003cbr\u003e\u003cbr\u003eFaster TIMING settings will generally lead to higher peak-to-peak control voltage ripple, and therefore induce more harmonic content, translating into more color in the main audio path. Slower TIMING settings will smooth the control voltage significantly, and thereby reduce the harmonic content added to the audio path, resulting in more transparent compression. It is also worth noting that due to the nature of this topology, these time constants adapt themselves slightly depending on several factors: compression ratio, threshold, and source material. This dynamically generated timing shift and harmonic content is what gives the Diode Bridge Compressor its unique personality.\u003cbr\u003e\u003cbr\u003eThe Right Blend\u003cbr\u003eGiven the naturally colored sonic signature of the 535’s diode bridge, this built-in parallel compression ability is especially useful. The BLEND control allows the user to inject smaller amounts of extreme compression into an otherwise unaffected signal, creating an enhanced yet natural sound that maintains dynamic range with blendable color and punch.\u003cbr\u003e\u003cbr\u003eTake Control\u003cbr\u003eIn addition to the TIMING control, the diode bridge compressor can be further manipulated by the RATIO, THRESHOLD, GAIN, SC HPF and LINK controls. The RATIO control has six selectable positions on the rotary switch and allows the user to set the slope of the compressor curve, with pre-selected ratios of 1.5:1 through 8:1. The THRESHOLD control has 31 detents and allows the user to adjust the point at which compression begins, ranging from -25dBu to +20dBu. The GAIN control has 31 detents to add make-up gain ranging from -6dB to +20dB. The S\/C HPF is 12dB\/octave sidechain high-pass filter with a frequency set to 150Hz. This feature can be immensely useful for making the compressor respond less to the powerful – and often more sustaining – low frequencies in a mix or instrument, which may otherwise give the compressor a more “mushy” response. LINK is designed to utilize the 500-series link buss built into many 500 series racks like the R6 or R10 (check your rack’s manual for details). When both units have link engaged and connected, the control voltage is shared between them – so when one unit is triggered, it will trigger the other unit equally. This can often help maintain a solid center image in a stereo source. Note: for stereo sources, it is always worth auditioning the “unlinked” sound as well, as linking can sometimes clamp down on the effective stereo width when the compressors are triggered by one side.\u003cbr\u003e\u003cbr\u003eThreshold\u003cbr\u003eA 31-position detented pot that sets the level at which compression begins, from -25dB to +20dB. Turning this control counter-clockwise will increase the amount of compression; turning it clockwise will decrease the amount of compression.\u003cbr\u003e\u003cbr\u003eRatio\u003cbr\u003eThe RATIO control has six selectable positions on a rotary switch, allowing the user to set the slope of the compressor curve with pre-selected ratios of 1.5:1 through 8:1 for levels above the determined THRESHOLD. This range of compression ratios allows the user to compress as moderately or heavily as desired.\u003cbr\u003e\u003cbr\u003eTiming\u003cbr\u003eThe TIMING control is a six-position rotary switch that sets the compressor attack and release times. The timing can be further modified by the FAST button.\u003cbr\u003eFAST – Fast Attack (750us), Fast Release (130ms)\u003cbr\u003eMF – Medium Attack (2.25ms), Fast Release (130ms)\u003cbr\u003eMED – Medium Attack (2.25ms), Medium Release (400ms)\u003cbr\u003eMS – Medium Attack (4ms), Slow Release (725ms)\u003cbr\u003eSLOW – Slow Attack (10ms), Slow Release (1S)\u003cbr\u003eAUTO – Medium Attack (5ms), Dual Decay Release (T1 500ms, T2 1s)\u003cbr\u003e\u003cbr\u003eFast\u003cbr\u003eThe FAST switch divides the attack and release times available on the TIMING control in half, effectively doubling the number of TIMING presets available to the user.\u003cbr\u003e\u003cbr\u003eBlend\u003cbr\u003eThe BLEND control has 31 detents and allows the user to mix the uncompressed (dry) signal with compressed (wet) signal. Turning the control towards 0% will shift the mix to fully uncompressed dry signal, whereas turning the control towards 100% will shift the mix to the fully compressed signal. This feature allows for parallel compression, enabling a wider range of compression subtlety.\u003cbr\u003e\u003cbr\u003eGain\u003cbr\u003eThe GAIN control has 31 detents and allows the user to add make-up gain to the compressed signal in order to bring its level back up to unity with the uncompressed input signal. It is much easier to evaluate the tonal effect of the compressor (via the COMP IN switch) when the compressed output level is matched to the uncompressed input level, thereby eliminating potentially misleading level differences.\u003cbr\u003e\u003cbr\u003eComp In\u003cbr\u003eThe COMP IN switch allows the user to audition the compression. By disengaging the COMP IN switch, the compressor is bypassed and the user can quickly compare the compressed sound to the dry input signal for an objective evaluation of the compressor’s sonic effect on the audio signal. COMP IN can be used in combination with the GAIN control to match the perceived level of the compressed audio signal with the level of the uncompressed input signal.\u003cbr\u003e\u003cbr\u003eLink\u003cbr\u003eThe LINK switch allows the compressor to be linked to another 535 compressor module via a sidechain control voltage. In link mode, the compressor generating the greater sidechain voltage (resulting in higher amounts of compression) will control the compression of both audio signal paths to maintain proper stereo center image while compressing. Note: it is advisable to always audition the unlinked sound as well, to decide if the benefit of a constant stereo center image is worth the potential trade-off of reduced left \/ right independence in the stereo field. \u003cbr\u003e\u003cbr\u003eSidechain HPF\u003cbr\u003eThe S\/C HPF switch allows the user to insert a 12dB\/octave 150Hz high-pass filter in the compressor sidechain. When this filter is engaged, the compressor will be considerably less responsive to information below 150Hz. For example: if used on a drum kit, the low end of the kick drum would have less proportional effect on the compression than a snare drum or cymbals, since a significant portion of the kick drum’s dynamic energy is focused below 150Hz.\u003cbr\u003e\u003cbr\u003eLevel and Gain Reduction Metering\u003cbr\u003eThese two LED meters provide accurate representations of both the output level of the compressor and the amount of gain reduction being applied to the input signal.","published_at":"2017-10-26T03:41:54+02:00","created_at":"2017-10-26T03:50:24+02:00","vendor":"Rupert Neve Designs","type":"500 Series","tags":["500 Series","500 Series Dynamics","Price Range_$750 to $1000","Rupert Neve Designs","Shop by brand_Rupert Neve Designs","Shop by category_500 Series","Shop by category_500 Series Dynamics","Shop by category_Signal Processing \u0026 500 Series","Signal Processing \u0026 500 Series","Studio \u0026 Recording"],"price":99500,"price_min":99500,"price_max":99500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":2623337594906,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Rupert Neve Designs 535 Diode Bridge Compressor","public_title":null,"options":["Default Title"],"price":99500,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/535-4-982x1024.jpg?v=1508982739","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/535-description-1.jpg?v=1508982739","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/535-right-angle-white-1-704x1024.jpg?v=1508982739","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/535-straight-1-542x1024.jpg?v=1508982739","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/r10-535-1-2-1024x626.jpg?v=1508982739","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/535-rack-1-1024x664.jpg?v=1508982739","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/535-3-1024x683.jpg?v=1508982739"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/535-4-982x1024.jpg?v=1508982739","options":["Title"],"content":"535\u003cbr\u003eDiode Bridge Compressor\u003cbr\u003e\u003cbr\u003ePunchy, thick and versatile, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities. Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 is outfitted with Rupert Neve Designs’ custom transformers and class-A output amplifiers, all tailor-made for the popular 500-series format. \u003cbr\u003e\u003cbr\u003eAlmost 50 years after Mr. Rupert Neve created his first diode bridge compressor designs, the 535 reimagines the larger-than-life personality of these classic circuits with new levels of precision and adaptability, helping virtually any track shine through a mix.\u003cbr\u003e\u003cbr\u003eThe Diode Bridge\u003cbr\u003eWhere the VCA compressor found in the 543 and Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix. Mr. Rupert Neve’s original diode bridge compressors like the 2254 served as an inspiration for the design of the 535. By understanding the limitations of the original 2254 topology, painstaking effort was taken to reproduce the unique tone of the 2254 while improving the noise floor, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, widening the range of threshold and ratio controls, and raising the headroom of the diode bridge itself. Delivering the powerful sound of these classic designs with enhanced flexibility for the modern age, the 535 is a dynamic tool equipped to make a statement on virtually any track. \u003cbr\u003e\u003cbr\u003eTiming is Everything\u003cbr\u003eThe unified TIMING control is comprised of six selectable settings, carefully chosen for different applications – a major departure from the fixed attack of the 2254. FAST and MF settings are designed to help clamp down on more transient signals like drums, plucked string instruments and fast vocals. MED and MS have slightly slower attacks and releases which can allow more transients through while having a slightly longer recovery. Lastly, SLOW and AUTO are both significantly slower, and are designed for smoother level control.\u003cbr\u003eFAST mode increases the speed of both attack and release for each setting, effectively doubling the number of time constants from 6 to 12. The FAST mode also allows for a dramatic increase in speed as compared to the 535’s renowned ancestors, providing significantly more tonal \u0026amp; operational versatility.\u003cbr\u003e\u003cbr\u003eFaster TIMING settings will generally lead to higher peak-to-peak control voltage ripple, and therefore induce more harmonic content, translating into more color in the main audio path. Slower TIMING settings will smooth the control voltage significantly, and thereby reduce the harmonic content added to the audio path, resulting in more transparent compression. It is also worth noting that due to the nature of this topology, these time constants adapt themselves slightly depending on several factors: compression ratio, threshold, and source material. This dynamically generated timing shift and harmonic content is what gives the Diode Bridge Compressor its unique personality.\u003cbr\u003e\u003cbr\u003eThe Right Blend\u003cbr\u003eGiven the naturally colored sonic signature of the 535’s diode bridge, this built-in parallel compression ability is especially useful. The BLEND control allows the user to inject smaller amounts of extreme compression into an otherwise unaffected signal, creating an enhanced yet natural sound that maintains dynamic range with blendable color and punch.\u003cbr\u003e\u003cbr\u003eTake Control\u003cbr\u003eIn addition to the TIMING control, the diode bridge compressor can be further manipulated by the RATIO, THRESHOLD, GAIN, SC HPF and LINK controls. The RATIO control has six selectable positions on the rotary switch and allows the user to set the slope of the compressor curve, with pre-selected ratios of 1.5:1 through 8:1. The THRESHOLD control has 31 detents and allows the user to adjust the point at which compression begins, ranging from -25dBu to +20dBu. The GAIN control has 31 detents to add make-up gain ranging from -6dB to +20dB. The S\/C HPF is 12dB\/octave sidechain high-pass filter with a frequency set to 150Hz. This feature can be immensely useful for making the compressor respond less to the powerful – and often more sustaining – low frequencies in a mix or instrument, which may otherwise give the compressor a more “mushy” response. LINK is designed to utilize the 500-series link buss built into many 500 series racks like the R6 or R10 (check your rack’s manual for details). When both units have link engaged and connected, the control voltage is shared between them – so when one unit is triggered, it will trigger the other unit equally. This can often help maintain a solid center image in a stereo source. Note: for stereo sources, it is always worth auditioning the “unlinked” sound as well, as linking can sometimes clamp down on the effective stereo width when the compressors are triggered by one side.\u003cbr\u003e\u003cbr\u003eThreshold\u003cbr\u003eA 31-position detented pot that sets the level at which compression begins, from -25dB to +20dB. Turning this control counter-clockwise will increase the amount of compression; turning it clockwise will decrease the amount of compression.\u003cbr\u003e\u003cbr\u003eRatio\u003cbr\u003eThe RATIO control has six selectable positions on a rotary switch, allowing the user to set the slope of the compressor curve with pre-selected ratios of 1.5:1 through 8:1 for levels above the determined THRESHOLD. This range of compression ratios allows the user to compress as moderately or heavily as desired.\u003cbr\u003e\u003cbr\u003eTiming\u003cbr\u003eThe TIMING control is a six-position rotary switch that sets the compressor attack and release times. The timing can be further modified by the FAST button.\u003cbr\u003eFAST – Fast Attack (750us), Fast Release (130ms)\u003cbr\u003eMF – Medium Attack (2.25ms), Fast Release (130ms)\u003cbr\u003eMED – Medium Attack (2.25ms), Medium Release (400ms)\u003cbr\u003eMS – Medium Attack (4ms), Slow Release (725ms)\u003cbr\u003eSLOW – Slow Attack (10ms), Slow Release (1S)\u003cbr\u003eAUTO – Medium Attack (5ms), Dual Decay Release (T1 500ms, T2 1s)\u003cbr\u003e\u003cbr\u003eFast\u003cbr\u003eThe FAST switch divides the attack and release times available on the TIMING control in half, effectively doubling the number of TIMING presets available to the user.\u003cbr\u003e\u003cbr\u003eBlend\u003cbr\u003eThe BLEND control has 31 detents and allows the user to mix the uncompressed (dry) signal with compressed (wet) signal. Turning the control towards 0% will shift the mix to fully uncompressed dry signal, whereas turning the control towards 100% will shift the mix to the fully compressed signal. This feature allows for parallel compression, enabling a wider range of compression subtlety.\u003cbr\u003e\u003cbr\u003eGain\u003cbr\u003eThe GAIN control has 31 detents and allows the user to add make-up gain to the compressed signal in order to bring its level back up to unity with the uncompressed input signal. It is much easier to evaluate the tonal effect of the compressor (via the COMP IN switch) when the compressed output level is matched to the uncompressed input level, thereby eliminating potentially misleading level differences.\u003cbr\u003e\u003cbr\u003eComp In\u003cbr\u003eThe COMP IN switch allows the user to audition the compression. By disengaging the COMP IN switch, the compressor is bypassed and the user can quickly compare the compressed sound to the dry input signal for an objective evaluation of the compressor’s sonic effect on the audio signal. COMP IN can be used in combination with the GAIN control to match the perceived level of the compressed audio signal with the level of the uncompressed input signal.\u003cbr\u003e\u003cbr\u003eLink\u003cbr\u003eThe LINK switch allows the compressor to be linked to another 535 compressor module via a sidechain control voltage. In link mode, the compressor generating the greater sidechain voltage (resulting in higher amounts of compression) will control the compression of both audio signal paths to maintain proper stereo center image while compressing. Note: it is advisable to always audition the unlinked sound as well, to decide if the benefit of a constant stereo center image is worth the potential trade-off of reduced left \/ right independence in the stereo field. \u003cbr\u003e\u003cbr\u003eSidechain HPF\u003cbr\u003eThe S\/C HPF switch allows the user to insert a 12dB\/octave 150Hz high-pass filter in the compressor sidechain. When this filter is engaged, the compressor will be considerably less responsive to information below 150Hz. For example: if used on a drum kit, the low end of the kick drum would have less proportional effect on the compression than a snare drum or cymbals, since a significant portion of the kick drum’s dynamic energy is focused below 150Hz.\u003cbr\u003e\u003cbr\u003eLevel and Gain Reduction Metering\u003cbr\u003eThese two LED meters provide accurate representations of both the output level of the compressor and the amount of gain reduction being applied to the input signal."}
Rupert Neve Designs 535 Diode Bridge Compressor

Rupert Neve Designs 535 Diode Bridge Compressor

$995.00

535Diode Bridge CompressorPunchy, thick and versatile, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities. Originally developed for ...


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Rupert Neve Designs 542 "True Tape" Emulation with Variable Silk, Soft-Clip
{"id":8436002189,"title":"Rupert Neve Designs 542 \"True Tape\" Emulation with Variable Silk, Soft-Clip","handle":"542-true-tape-emulation-with-variable-silk-soft-clip","description":"\u003cbr\u003e542 - Rupert Neve Designed 500 Series Tape Emulator\u003cbr\u003e\u003cbr\u003eThe ultimate \"color box\". As a 500-series follow-up to the Portico 5042, the 542 delivers the same thick, musical simulation of tape while drastically enhancing creative control via a number of new features. In addition to the the \"true tape\" circuitry – great for bringing out 3rd-order harmonics – the 542 incorporates a soft-clip circuit that tames the harshest sources and enhances 2nd-order harmonics, a variable and versatile Silk\/Texture circuit for three transformer tones in one, and a wet\/dry control to blend in the perfect amount of saturation.\u003cbr\u003e\u003cbr\u003eUnlike digital emulations, the “True Tape” drive circuit works by feeding a custom-designed transformer acting as a “record head”, which in turn is coupled to a correctly equalized replay amplifier. As the voltage rises on the “record head”, saturation increases, and a soft clip circuit engages at higher levels to round off peak transients. The sound of the tape circuit can be further modified with selectable 15 \/ 30 IPS modes and a pre\/post-tape blend control. In addition to the tape circuit, the 542 also has the variable Silk \u0026amp; Texture circuitry found in the Portico II series of modules, which allows the engineer to fine-tune the harmonic ratio and tonality on the output transformer.\u003cbr\u003eGetting the Most Out of the 542\u003cbr\u003e\u003cbr\u003eWhile in the olden days, tape’s non-linearity was generally looked upon as more of a curse than a “feature”, the advent of digital systems that operate in a completely linear fashion has made many appreciate the quirks of non-linear audio processing. Unlike linear designs, non-linear devices require the user to actively experiment with gain staging to find the “sweet spot” of the circuit. Although this requires a small amount of effort on part of the engineer, if used properly, the effect can add a dynamic aspect to performances that can enhance the impact of a song.\u003cbr\u003e\u003cbr\u003eThe non-linearity in the 542’s “True Tape” circuitry and Saturation control necessitate taking note of both drive and input levels. How levels are staged into the 542’s tape circuit can significantly impact tone, depending on the position of the saturation control and the drive level on the tape circuit. As saturation is increased, low frequency compensation is decreased, and at a drive level of 5 the soft clipper enters the circuit. Finding the best balance point between low frequency response, total harmonic distortion, and desired soft clipping require playing with a combination of the saturation, trim and blend controls, and may also include using dynamics processing and proper gain staging before the 542.\u003cbr\u003e\u003cbr\u003eAs a rough guide, we recommend starting with an input signal from around 2-10dBu and applying saturation, 15 \/ 30 IPS, Silk, and blend to taste. However, it always behooves the engineer to experiment with the balance between the pre-tape signal level and the level of the saturation control to find the best results for each source.\u003cbr\u003e\u003cbr\u003eTo get a better idea of what is happening at different saturation and “Tape Head” levels, look through the frequency response and THD by frequency response graphs in the Technical Specifications section at the end of the manual.\u003cbr\u003e\u003cbr\u003eAlso, like a real tape machine, the flux loops in the “True Tape” circuitry can pick up signals from strong nearby magnetic fields (The most likely sources are nearby power supplies, power amplifiers and computer monitors). Although we have shielded both the unit as a whole and the tape circuit to minimize stray inductance, if you have issues with hum when engaging the tape circuit, try moving the 542 to other spots away from magnetic field radiators until the hum subsides.\u003cbr\u003eAdding Texture\u003cbr\u003e\u003cbr\u003eBoth Silk modes are modified and fine tuned by the “Texture” control. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly four times the amount of coloration found in Silk from the original Portico Series. With Silk \/ Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s vintage class-A designs. These controls add another realm of tonal control to the 542, and should be explored creatively in conjunction with the “True Tape” for best effect.\u003cbr\u003eDesigned for 500 Series by Mr. Rupert Neve\u003cbr\u003e\u003cbr\u003eRupert Neve: \"While creating functional 500-series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500 Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest-caliber.\"\u003cbr\u003e\u003cbr\u003eThe 542 consists of a line driving amplifier having transformer balanced inputs and outputs. The sonic quality of these amplifiers is such that by providing galvanic isolation, simple single-sided circuit topology and freedom from grounding problems, they are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. 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As a 500-series follow-up to the Portico 5042, the 542 delivers the same thick, musical simulation of tape while drastically enhancing creative control via a number of new features. In addition to the the \"true tape\" circuitry – great for bringing out 3rd-order harmonics – the 542 incorporates a soft-clip circuit that tames the harshest sources and enhances 2nd-order harmonics, a variable and versatile Silk\/Texture circuit for three transformer tones in one, and a wet\/dry control to blend in the perfect amount of saturation.\u003cbr\u003e\u003cbr\u003eUnlike digital emulations, the “True Tape” drive circuit works by feeding a custom-designed transformer acting as a “record head”, which in turn is coupled to a correctly equalized replay amplifier. As the voltage rises on the “record head”, saturation increases, and a soft clip circuit engages at higher levels to round off peak transients. The sound of the tape circuit can be further modified with selectable 15 \/ 30 IPS modes and a pre\/post-tape blend control. In addition to the tape circuit, the 542 also has the variable Silk \u0026amp; Texture circuitry found in the Portico II series of modules, which allows the engineer to fine-tune the harmonic ratio and tonality on the output transformer.\u003cbr\u003eGetting the Most Out of the 542\u003cbr\u003e\u003cbr\u003eWhile in the olden days, tape’s non-linearity was generally looked upon as more of a curse than a “feature”, the advent of digital systems that operate in a completely linear fashion has made many appreciate the quirks of non-linear audio processing. Unlike linear designs, non-linear devices require the user to actively experiment with gain staging to find the “sweet spot” of the circuit. Although this requires a small amount of effort on part of the engineer, if used properly, the effect can add a dynamic aspect to performances that can enhance the impact of a song.\u003cbr\u003e\u003cbr\u003eThe non-linearity in the 542’s “True Tape” circuitry and Saturation control necessitate taking note of both drive and input levels. How levels are staged into the 542’s tape circuit can significantly impact tone, depending on the position of the saturation control and the drive level on the tape circuit. As saturation is increased, low frequency compensation is decreased, and at a drive level of 5 the soft clipper enters the circuit. Finding the best balance point between low frequency response, total harmonic distortion, and desired soft clipping require playing with a combination of the saturation, trim and blend controls, and may also include using dynamics processing and proper gain staging before the 542.\u003cbr\u003e\u003cbr\u003eAs a rough guide, we recommend starting with an input signal from around 2-10dBu and applying saturation, 15 \/ 30 IPS, Silk, and blend to taste. However, it always behooves the engineer to experiment with the balance between the pre-tape signal level and the level of the saturation control to find the best results for each source.\u003cbr\u003e\u003cbr\u003eTo get a better idea of what is happening at different saturation and “Tape Head” levels, look through the frequency response and THD by frequency response graphs in the Technical Specifications section at the end of the manual.\u003cbr\u003e\u003cbr\u003eAlso, like a real tape machine, the flux loops in the “True Tape” circuitry can pick up signals from strong nearby magnetic fields (The most likely sources are nearby power supplies, power amplifiers and computer monitors). Although we have shielded both the unit as a whole and the tape circuit to minimize stray inductance, if you have issues with hum when engaging the tape circuit, try moving the 542 to other spots away from magnetic field radiators until the hum subsides.\u003cbr\u003eAdding Texture\u003cbr\u003e\u003cbr\u003eBoth Silk modes are modified and fine tuned by the “Texture” control. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly four times the amount of coloration found in Silk from the original Portico Series. With Silk \/ Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s vintage class-A designs. These controls add another realm of tonal control to the 542, and should be explored creatively in conjunction with the “True Tape” for best effect.\u003cbr\u003eDesigned for 500 Series by Mr. Rupert Neve\u003cbr\u003e\u003cbr\u003eRupert Neve: \"While creating functional 500-series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500 Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest-caliber.\"\u003cbr\u003e\u003cbr\u003eThe 542 consists of a line driving amplifier having transformer balanced inputs and outputs. The sonic quality of these amplifiers is such that by providing galvanic isolation, simple single-sided circuit topology and freedom from grounding problems, they are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic \"signature\" is one of extreme purity and the image is consistent with that of Rupert Neve’s original designs of 35-40 years ago."}
Rupert Neve Designs 542 "True Tape" Emulation with Variable Silk, Soft-Clip

Rupert Neve Designs 542 "True Tape" Emulation with Variable Silk, Soft-Clip

$745.00

542 - Rupert Neve Designed 500 Series Tape EmulatorThe ultimate "color box". As a 500-series follow-up to the Portico 5042, the 542 delivers the same thick, musical simulation of tape while drastically enhancing creative control via a number of new features. In addition to the the "true tape" circuitry – great for bringing out 3rd-order harmonic...


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