An overview of our range of 500 series modules

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Zähl EQ1

The Zähl EQ1 is the legendary Zähl stereo EQ in 500 series format: 4 bands and highpass filter with indiviual band bypass, global EQ gain switchable between 5dB and 15dB and more! Its open musical sound makes it a must have for any 500 rack.

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Crane Song Syren tube mic preamp

SYREN is a classic sounding tube preamp in a 500 series package, using a dual triode circuit with a 12AX7 tube. The audio path color is changed by modifying the second stage tube circuit so it has negative feedback or does not have negative feedback. This changes the interaction between the tube stages and thus the sound of the pre-amp. With negative feedback it is a more accurate audio path with wider frequency response and without negative feedback it has a more open warmer sound.

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Crane Song Falcon tube compressor

FALCON is a classic sounding tube compressor in a 500 series package. It features 3 attack and 3 release time settings, hard and soft knee choices for compression or limiting, two different audio path sounds, wet-dry mixing for parallel compression, and is linkable. The audio path color is changed by modifying the tube circuit so it has negative feedback or does not have negative feedback. This along with the optical like quality of the compressor allows for a colored vintage sound or a much cleaner sound with optical characteristics.

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SSL 500 format Stereo Bus Compressor module

The legendary sound of the SSL Stereo Bus Compressor has been glueing mixes together for 35+ years...it is now available for the 500 format rack. Often imitated but never equalled, the centre section compressor from the 1980's G-Series analogue console is an audio production legend. It is a simple unit with a simple purpose; it makes complete mixes sound bigger, with more power, punch and drive. It brings cohesion and strength to your mix without compromising clarity.

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SSL 500 format E series EQ module

The E-Series EQ Module for 500 Series racks features two different EQ’s found on editions of the console produced between 1979 and 1987. Each EQ has unique response curves and tonal character. Historically, the type of EQ fitted in an individual console was distinguished by the colors used on the LF knob caps so the two flavors have become known as the ‘Brown’ and ‘Black’ EQ’s. On the E-Series EQ Module, you can switch between these two different flavors of EQ that have been loved by generations of professional producers.

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SSL 500 format E series Dynamics module

The E-Series Dynamics Module for 500 Series racks reproduces the legendary sonic signature of the fully-flavored VCA channel dynamics section of the SL 4000 E console channel strip. The E-Series Dynamics Module features a compressor/limiter and an expander/gate, both of which return faithfully to the circuitry and key components that define the sound of the original SL 611 E Series channel strip.

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AEA RPQ500 - The Ribbon Pre with Curve Shaping in 500-series format

The new RPQ500 module is based on the successful design of the full-rack RPQ preamplifier and provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation. The RPQ500 has been enhanced with additional features, turning it into a workhorse tool for any 500-series compatible rack.

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Pendulum Audio DS-500

The praised de-esser of the Quartet in a stand-alone 500 series card. It is identical to the one in the Quartet, but implemeted around a unity-gain class A solid-state line stage.

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Pendulum Audio OCL-500

The OCL-500 has the same compression circuit as the OCL-2, but uses a transformerless class A solid-state gain makeup circuit in place of the tube stage.

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AnaMod AM660 - compressor/limiter

The Fairchild 660 limiter is arguably one of the most famous and sought-after compressors ever made. The magical way it adds density and dimension to a track or a mix has been demonstrated on many of the best-sounding records made in the last 50 years.

The AM660 is a faithful recreation in API500 series format of the classic sound and compression profile of the 660, using the AnaMod™ process to model the complex tube circuitry of the 660 and implement it entirely in the analog domain. Unlike a digital plug-in or processor based outboard gear, there is no latency, and no A/D or D/A conversions to compromise the sound.

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AnaMod XF Tube - Two-Stage Transformer/Tube Analog Simulator

Whether tracking live or re-processing instruments, many people use a tube amplifier to shape the sound of a track. The AnaMod XF Tube provides a unique way to do this. The XF Tube is an analog model of an amplifier which consists of an input transformer, 2 tube stages, and an output transformer. Any of the stages may be bypassed and each stage has switchable parameters. The transformer stages allow for the selection of an iron or nickel core model while the tube stages provide models for both pentodes and triodes as well as configuring the stage as either push-pull or single-ended

The XF Tube, while being model based, is a purely analog device. It was created using the AnaMod process to model the complex tube d no A/D or D/A conversions to compromise the sound.

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Realios TLCompressor - The Smoothest Audio Compressor Ever

Imagine a compressor which doesn’t use a photocell, diodes, FET, VCA, or variable-mu tube for gain reduction; only a tungsten lamp. Unlike the other technologies, a tungsten lamp adds no distortion to the audio signal making it a pristine audio device. Not only does a tungsten lamp not add distortion, but it is also a true RMS device which accurately tracks the audio level.

The Realios TLCompressor (Tungsten Lamp Compressor) combines high quality electronically balanced audio electronics with a tungsten lamp as a gain reduction element providing for smooth artifactfree, soft-knee leveling of even the most difficult program material. This is especially useful for female vocals, bass, guitar and mixes.

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Realios A9031 - The Classic Dick Swettenham Olympic Studios Design preamp

Dick Swettenham’s three transistor microphone preamp design is truly a thing of beauty. The sound of these types of microphone preamps is legendary. You’ve heard it on records made at Olympic studios in the 60s and 70s. It’s now available again in a 500 series format package.

This version features a class-A transistor output stage which will drive the most demanding of loads. This feature is most welcome since the original Olympic microphone preamps were integral parts of their respective mixing desks and never meant to be connected directly to an output. Other additions include: finer gain steps (5 dB), a high-impedance FET DI, phase reverse switch, and switchable phantom power.

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Realios A9033 - A New Idea In Microphone Preamps

A clipping problem arose one day while recording a really loud vocalist singing through a U47 microphone. The problem was assumed to be the clipping of the microphone since every mic preamp in the studio also was clipping in this signal chain.

Upon further measurement it was determined that the U47 output was not clipping, it was outputing a signal of -15 dBm. Too much output for most mic preamps. The solution was the A9033. This microphone preamp was designed for this situation. However, the added benefit of passive voltage gain possibly makes this the most transparent and open sounding microphone preamp ever.

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Realios A9052 - The Classic Dick Swettenham Olympic Studios Design equalizer

Originally designed for the Olympic studios’ console by Dick Swettenham with guidance from engineer Keith Grant, this equalizer is a very useful toolbox. It is the sound of records made at Olympic studios in the 60s and 70s and is now available in a 500 series format package.
The A9052 provides extremely musical high and low shelving bands, two mid / low frequency bands of equalization as well as a two position high-pass filter. The equalization points chosen provide instant control over musical timbre. An addition to the original three transistor makeup gain stage is a class-A transistor output stage which will drive the most demanding of loads. Also included is a step-down input transformer and step-up output transformer which provides 6 dB greater headroom than the 500 series voltage rails would normally allow.

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Daking Mic-Pre 500

Derived from the company's Mic Pre One freestanding unit, the Mic Pre 500 is designed for installation in 500 Series format equipment. The new mic pre features switchable phase, 20 dB mic input pad, +48V phantom power, and a selectable quarter-inch line/hi-z instrument input.

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Daking EQ 500

Based on the renowned EQ section of the Daking Mic Pre EQ, its four bands have all the frequencies that a mixing or tracking engineer will typically find to be his or her "go to" frequencies. Each band has an "out" position, rather than relying on center detent pots, which are typically less accurate than a simple bypass. Easy to use, and famously "sweet" sounding, the Daking EQ500 is the perfect addition to your 500 series rack.

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Daking Comp 500

The Daking Comp 500 is a simple to use VCA compressor/ limiter in a 500 series format. Although it is a VCA, it behaves and sounds much like the FET circuitry found in the other Daking compressors. Relying on his years of experience and testing, Geoff has designed a simple semi-automatic compressor useful for both tracking and mixing.

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Little Labs VOG

The VOG analog bass resonance tool is the latest creation from Little Labs, and is Little Labs first entry in the popular API 500-Series module format. The VOG was originally designed to capture the chest resonance of vocalists or voice over artists, enabling them to still have a proximity type effect without havingto be so close to the mic, hence the name, VOG, or Voice of God. However, when heard on kick drum and bass, it became clear this is the go to device to make these instruments sound huge.

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Weiss A1

500 series transformer balanced discrete class A preamp and digitally controlled analog de-esser module.

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