THE COMPLETE GUIDE TO YOUR MODULAR PROCESSING OPTIONS · 2016-08-15 · United States military. When his contracts expired with the government, he turned his attention to his true

THE COMPLETE GUIDE TO YOUR MODULAR PROCESSING OPTIONS

Origins of the 500 Series format Modular products from all the brands Creating a Workhorse

M O D U L A R P R O C E S S I N G S U P P L E M E N T

July/August 2010

iNsiDe

v9.5 July/August 2010luNCHBOX suPPleMeNt


iv Origins of the 500 series format Thebirth,growthandthecurrentstatusofthemostpopularofmodularsystems.

iv Products Modularproductsfromallthebrands.

xv Creating a workhorse Thetechnologyandthinkingbehindanalternativemodularchassis.

the appeal of modular processing could be compared to the appeal of

the modern personal electronic communications device. All our life is in it and increasingly our tastes and favourites are too. Modular processing is all about expressing yourself and assembling a killer combination or a really useful arrangement of modules for a particular application. the beauty of it is that it doesn’t have to be fixed and while the notion of swapping and changing modules isn’t taken advantage of nearly as much as everyone thinks they will when they buy them, it’s reassuring that you could if you wanted to.

the most wonderful aspect of modularity is the sheer breadth of choice. if you like your preamps then you could buy one of so very many different types and create a subtle variety of performance that would not be available anywhere else. it is this ability to indulge in your own personal preferences that makes every rack’s worth of modules potentially unique to you. in a world of similarity in-the-box such individuality out of it is highly attractive.

there is also no denying the analogue message that a modular rack sends out in a modern digital production environment. in our smaller rooms it is not so much the portability of a modular rack that appeals as the compact footprint and density of processing available when space is an issue.

there are a variety of rack options and it’s important to remember that not all are created equal. the proprietary systems also offer staggering levels of choice and some go further in terms of configurability to create more of a system by virtue of being ‘in-house’. the premise for modularity has always been to offer parts of a console in a box but it doesn’t take much imagination to make part of a console out of that box.

while the affordability claims of single module versions of bigger rackmount equivalents don’t tend to stack up by the time you’ve factored in the cost of the rack, it is certainly true that if you are into a tasting menu approach of single different modules then it is the cheapest, and the only, way to ever get near to such a level of flexibility.

As we put this issue to bed news has come in that the 10,000th 512C has been sold so it seems the idea’s popularity is holding and it is fairly safe to assume that this is not just some fad. i hope you enjoy picking your way though the forest of modules that we have covered here and i hope you’ll discover some that you weren’t aware of because i certainly did.

Zenon schoepe

Leader

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Contents

A U D I O AT T H E B E I J I N G G A M E S S U P P L E M E N T

iii. News vi. The wizardry of televised sportsix. Bob Dixon: NBC Olympicsxii. Capturing the sound of competitionxiv. Keeping people talking — the intercom challenge

A U D I O A T T H E B E I J I N G G A M E S S U P P L E M E N T

JULY/AUGUST 2008

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THE COMPLETE GUIDE TO YOUR MODULAR PROCESSING OPTIONS

Origins of the 500 Series format Modular products from all the brands Creating a Workhorse


JULY/AUGUST 2010

Resolution July August 2010 V9.5.indd 1 16/07/2010 18:03

S M A L L R O O M S U P P L E M E N T

JULY/AUGUST 2009

Why size is importantOptimisation is just part of the equationPutting the ‘home’ in studio Loudspeaker placement in small roomsBig studio principles for the smaller space

All you need to know to build a small studio

Resolution July-August 09 Supplement.indd 19 19/06/2009 10:26

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Origins of the 500 Series formatAPI MD GORDON SMART explains the birth, growth and the current status of the most popular of modular systems.

MODUlAR PROcESSiNG SUPPlEMENt

‘T he more things change, the more they stay the same.’ This little slogan is particularly applicable when it comes to the origins of API’s industry standard 500 series format

module. The format harks back to a time in the late 1960s when the ‘ready made’ mixing console simply did not exist. In those days, most of the customers of pro audio equipment were inclined to build their own mixers in-house, and designed the electronics and routing according to their own particular electrical and architectural specifications. Rudimentary and unique, these consoles had their various controls all wired point-to-point, and then typically attached to a large, custom-made flat aluminium panel. The wired aluminium panel was then mounted to a hand-made wooden frame, the result being an early mixing console. In this fashion, recording studios and particularly recordists (today’s engineers and producers) each developed and were known by their own unique sound.

Enter Saul Walker and Lou Lindaur, both founders of API in Farmingdale, New York. While Linduar’s expertise was in sales and marketing, Walker was a rocket scientist and a government contractor, working on various classified projects in conjunction with the United States military. When his contracts expired with the government, he turned his attention to his true passion which was, not surprisingly, the design of audio products. And in the process of doing so, Walker devised the circuits, including those of the API 2520 op amp, that were destined to change the way recorded music sounded.

When the two realised that there was a growing demand for console modules, the fledgling API sought to enter the market by offering something unique: the convenience of a standardised, ‘modular’ equaliser that could be easily incorporated into a mixing console. That equaliser was the first 500 series format module, API’s 550 Equaliser. Reliable, standardised and of outstanding sonic quality, it was provided with a 5.25-inch tall by 1.5-inch wide front panel, a rectangular metal chassis and a 15-pin, 0.156-inch spaced edge connector card on the back of the unit. Forty-plus years later, the format is still serving the industry today.

Encouraged by the success of the 550 EQ, API also began supplying other modules: a generic amplifier card, and a modular microphone preamp card that housed the now-famous API 312 mic preamp circuitry. By supplying a mic preamp, equalisation and generic amplification, API gave professional engineers what they wanted: the basic building blocks with which to construct and configure a console.

The units proved extremely popular and successful, originally for their ease of use but then increasingly because of the high sonic quality that the modules offered.

In less than three years, the industry was sufficiently impressed to pose a question to API. Would the company be interested in producing the entire control system based on the successful modular model, rather than just the individual modules? The answer was yes, and in 1971 API began production of the first of what was destined to be a long line of industry-defining mixing consoles. Like the API consoles of today, the original desks had slots for 500 series equalisers, as well as input modules and separate fader modules. For mic preamps, the consoles continued to incorporate the now famous 312 cards. API eventually became renowned for building custom specified platforms, each individually specified in conjunction with the client’s needs. This one-on-one approach to console building continues today with each custom produced API Legacy or Vision series console.

At the same time, other entrepreneurs began purchasing 500 series equalisers and mic pres directly from API, and using the heart of the API sound, began assembling and building their own custom consoles, comprised of API modules. Essentially elaborate racks to hold API modules, many of these consoles became legendary, including a DeMedio console built for ABC Watermark Studios in Los Angeles. The legend has it that Steely Dan waited for more than 6 months for Mr Frank DeMedio to complete that console before beginning and finishing the album AJA on that desk.

Various other artists wanted the same sound, and used the same strategy to get it. For example, when Prince formed his first studio enterprise in Minneapolis, he ordered a 48-channel console from

ProductsModular products from all the brands

APi AudioAPI manufactures several modules.The512Cdiscretemic/line/instrumentpreampuses2510and2520op-amps,andoffers65dBgain,phantompower,switchablepolarity,-20dBpad,mic/lineorinstrumentselector,andfrontpanel-mountedXLRand1/4-inchconnectorscombinedwithrearpanelmicaccess.The525isanexactreissueofAPI’soriginalearly 70s discrete ‘feedback’compressor,offering inputandoutputcontrols,togetherwitha2:1or20:1compressionswitch.It has four switchable release modes—0.1s,0.5s,1.5s,and2.0s—de-essandhardwirebypass.The527compressor/limiterwithfrontpanel-se lectable feedbackand feed-forward gainreductionhasasoft/hardswitchfor‘over-easy’typecompression. There’s athresholdcontrol,outputfadercontrol,patentedThrust function (appliesahigh-passfilterbeforetheRMSdetector),andfully-adjustableattackandrelease.The550Adiscrete3-bandEQprovidesreciprocalEQat15pointsinfivestepsofboost.The15EQpointsare divided into threeoverlappingrangesandabandpassfiltermaybeinserted independentlyofallotherselectedEQsettings.The550ASaulWalkerEditionEQusesthesamecircuitryasthecurrent reissue of theAPI 550A, hand-wiredswitches,andtheoriginalcircuitboarddesign.The550Bdiscrete4-bandEQwith12dBofboost/cutperband,isbilledasareissueofthe1967-vintage550EQ with an extra band— each band offeringsevenfrequencycentres,reciprocalandrepeatablef i l ter ing, shel f /peakswitchingonbandsoneandfour,andproportionalQ.The560discrete10-bandgraphicEQ isa reissueofthe1969versionwith12dB of boost/cut perband, proportional Q,additional resolution inthe+/-4dBregion,andsilentbypassbutton.www.apiaudio.com

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Mr DeMedio, which was comprised of API equalisers, mic pres, and op amps for the summing sections. Similarly, early in his career Bruce Swedien was a partner in a Chicago company called Phoenix Audio, which was built around 12 custom consoles for specific clients.

Success with its consoles allowed API to continually refine its growing line of products, and eventually the original 550 EQ gave birth to what is now an industry standard –- the API 550A EQ. Industry demand also encouraged API to develop and produce the 10-band 560 graphic EQ. Other equalisers produced by API included the 553 Program EQ, and the 554 continuously variable parametric EQ. Later, the 525 Compressor was added to the line, meeting with great success. In the 1980s, the 550b 4-band EQ was included in the list of available modules, followed by a 500 Series version of Saul Walker’s original 312 card called the 512b, eventually refined into the 512C available today. Most recently, API has added the 527 compressor to its line up of modules.

Over the 40 plus years of its existence, API has gone through several changes in ownership, various growing pains, experienced the ups and downs of the economy and adjusted to the changing landscape of the professional audio industry. In that space of time, and particularly in the last five years, the 500 Series Format has not only endured but has actually exploded in popularity. Realising that API’s 500 Series format has become the standard in so many control rooms, in 2005 API decided to encourage the opening of the format to other manufacturers and formed the VPR Alliance.

The VPR Alliance is a loose consortium of manufacturers who desired to move their particular

audio flavours to the 500 Series format. Membership to the Alliance is free and simple: manufacturers can submit their 500 Series modules to API, and API performs a series of tests to make sure that any VPR Alliance-approved module meets the necessary level of physical and electronic compatibility, along with a minimum level of workmanship. The goal is to try to ensure that the end user receives a product that is compatible with the format, fits the rack enclosures correctly and does not exceed the power requirements. This is ultimately designed to protect the customer, the racks, and the other modules housed in those racks.

Today, the VPR Alliance has a membership of more than 50 products, giving users a wide range of sonic choices in equalisers, mic pres, compressors, and other unique audio products. API receives no payments of any kind for its formation and administration of the VPR alliance.

API’s rack enclosures that accommodate the 500 Series Module include the 500V, 10-space, 19-inch Rack, the 6b, 6-space portable ‘Lunchbox’ rack, as well as the API1608 Recording console, which offers 8 spaces for 500 series modules, in addition to its 12 x 500A and 4 x 560 equalisers.

API continues to manufacture the large format Vision and Legacy Plus consoles, the 1608 Console Series, as well as a range of 500 Series and rackmount signal processing systems.

The success of the 500 series format is an excellent indicator of the strength and endurance of analogue audio in the recording process. Given the development of modern microphone technology and improvements in manufacturing, combined with the commitment of manufacturers to remain true to their roots, it’s clear: ‘the more things change, the more they stay the same.’ n

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City Studios: post and music on Cyprus

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Guy Massey: ‘old school’ engineer

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great River electronicsThe MP-500NV mic preampis designed to recreate soniccharacteristics of early 70s largeconsolesthankstoclassic70svintageBritishcircuitstyling.Designedtofitintoa500-Seriesrackusingtwoavailableslots,theunitisequippedwithaHi-Z instrument jackwithadedicatedinputampdesignedforDIapplications.Italsohasadjustablegainstages (input in5dBstepsto60dB;outputfrom-25to+10dB)twotothreestagesofsingle-endedsolidstateampgainblocks;high-current70mAClassAbiasontheoutputandinputandoutputmetersoneachchannel.Therearealsopolarity,phantompower,inputimpedance(1200/300Ohm),andoutputloading(600Ohmresistor)frontpanelswitches;custom-wound Sowter transformers; and gold-platedswitchingcontacts.Theseareidenticaltothecompany’sNVseriesofpreamps.

Takingadifferenttack,the32EQisa500-SeriesversionoftheEQandfiltersfromtheHarrison32Seriesconsoles,incorporatingtheoriginalspecswithdirectsupportfromtheoriginaldesignersatHarrisonConsoles.Itincludeslow,low-mid,hi-mid,andhighEQbands(withgainandfrequencycontrols),lowandhighband‘peakingswitches’,EQin/outswitch,high-andlowpassfilters(withsweepablefrequency),filterin/outswitch,andaninternaljumper(toselectthe‘vintage’feedbackdesignoranon-feedbackoption).www.greatriverelectronics.com

s&M AudioTheEQSM1isanAPI500-SeriescompatibleEQwithafirst-order,50Hzhigh-passfilter,highandlowshelves,andcontinuously-variablemidbands.There’salsoatruebypass.www.sandmaudio.com

electrodyneTheElectrodyne511 isanAPI500-Series compatible classictwo-band discrete transistorreciprocal active inductor EQus ing 1969-/1970-v intagedesigntechnologywithanactivebalanced discrete impedanceconvertor on its input. It has150Ohm output impedance,+/-12dBgain range, and fourfrequenciesselectableperband(LF:40,100,250,500Hz;HF:1.5,3,3,10kHz)withpeak/shelvingfunctiononeachband.

TheElectrodyne501isatwo-stagediscretetransistor,transformer-coupledpreampwithactiveDIwith68dBmaximumgain(adjustableover50dBin2dBstepswithtworangesusinga20dBpad),infinitelyadjustableoutputlevelcontrol(from0to+6dBoverunity),50/200Ohmselectablemicinputimpedance,7MegOhm-plusDIinputimpedance,anda10Hzto60kHzfrequencyresponse(+/-0.25dB).www.petesplaceaudio.com

JDK AudioJDK Audio is a new technology branddeveloped and engineered by API thatmakesuseofnewertechnologythatdoesnotcomfortablyfitintotheAPIproductmix.TheSeries-500frameformatisadheredtowiththeV14,asingle-channel4-bandEQ,modelledafterthecircuitryofclassichigh-endEQs.TheEQfeaturescontinuouslyvariablefrequencyandgainadjustmentondual-concentricpotswithanEQin/outswitchand12dBofboost/cutperband.Acustomtransformerbalancedoutputandhighheadroom(+24dBcliplevel)roundsoffthefeatureset.www.jdkaudio.com

Classic Audio ProductsClassic Audio Products sellsfully-assembledandtestedVP26micpreamps,anAPI500-Seriescompatiblediscreteoperationalamplifier with an industry-standard2520footprint.Notablefeaturesincludediscrete,vintage-stylecircuitrywith60dBofoverallgain; continuously variablepreampgainovera34dBrange;muteswitch;polarityreversal;20dB pad; 48V switchablephantompower;fully-variable,custom-madeoutputattenuator;custom-madeEdAndersonEA2622inputtransformer(whichisasonicreplicaofthevintageAP2622);andacustom-madeEdAndersonEA2623-1outputtransformer(whichisasonicreplicaofthevintageAP2623-1).

ThisproductisalsoGroupDIY51XAlliancecompatible,thisbeingaDIY-friendlyextensionofAPI’s500-Seriesrackspecstoincludean18-pincardedgeconnectorinsteadofa15-pinconnector,theextraconnectionpointsbeingusedfor+/-24VpowerrailstoallowdesignerstobuildDIYmodulesrequiring+24V,includingNeve,Neumann,orTelefunken-stylecircuits.www.classicapi.com

AnaModA n a M o d w a sfounded in 2006by Dave Amels(Bomb Factory,Voce) and GregGualtieri(PendulumAudio) to design,manufacture, andm a r k e t a u d i oequipmentbasedonthesamepatentedm a t h e m a t i c a lm o d e l l i n gprocedures usedbyAmelstocreatedigitalplug-insforBomb Factory. Assuch,thecompletelyanalogueAnaModAMEQPisanAPI500-SeriescompatibleincarnationoftheclassicPultecEPQ-1AvacuumtubeEQ,withthedetailrecreatedusingthetrademarkedAnaModProcess,includingsixnever-before-availablepresets.Similarly,theAM660isanAPI500-SeriescompatiblefaithfulrecreationoftheclassicsoundandcompressionprofileoftheFairchild660limiter–againthereisnolatency,andnoA-DorD-Aconversions(20kohmbalancedinputimpedance;lessthan50ohmoutputimpedance;+22dBubalancedmaximumoutputlevel;samelevellimitingnoisesasaproperlybalancedvintage660withGEfive-star6386tubes;variablecompressionratiofrom1:1to20:1,etc).www.anamodaudio.com

speck electronicsSpeckElectronics’ASC-Visasingle-channel4-bandEQwithtransformer-balanceda n d a c t i v e - b a l a n c e doutputsforAPI500-Seriesframes. Twelve controlsforequalisationcoverthespectrum from 25Hz to25kHz.ThecompanyalsooffersamountingbasetoholdasingleASC-Vorapair.www.speck.com

spotlight: solid state logicthe X-Rack/Mynx modular mixing and processing system aims to deliver ssl superAnalogue sound in a versatile form with eight different modules in the range designed to complement DAw systems.

the XR425 e series eQ Module reproduces the sonic signature of the ssl’s early-80s sl4000 e console channel strip and features two different eQs found on editions of the console. the XR418 e series Dynamics Module features a compressor/limiter and expander/gate from the sl 611 e series channel strip while the XR627 input Module is designed as an alternative to the pure Mic Amp Module with a front end adding the variable Harmonic Drive circuit.

the XR626 stereo Bus Compressor brings the 80s g-series’ stereo bus compressor into the superAnalogue world while the XR621 Mic Amp Module has a choice of three separate input amplifiers — mic amp, front panel instrument input, or line input, plus a set of high- and low-pass filters, and phase reverse.

the XR625 Channel eQ Module is a classic ssl 4-channel parametric eQ; the XR618 Dynamics Module features a separate compressor and gate/expander section, the XR623 Four Channel input Module is designed as an alternative to the XR624 eight input Module. the XR622 Master Bus Module turns the X-Rack concept from a processing solution into a mixer, providing a signal path to the two X-Rack stereo buses for all of the other modules as well as a compact console master section.

ssl also provides powered racking solutions for these modules in the X-Rack chassis — a 4u rack housing a power supply, MiDi in/Out, a Mix Bus link to cascade two X-Racks, and a total Recall system — and Mynx a two-module capacity desktop X-Rack.www.solid-state-logic.com

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Chameleon labsChameleonLabsmanufacturestheAPI500-SeriescompatibleModel 7681, adiscreteClassABmicpreampmodulewithabalancedtransformerinputthatcanbeupgradedtoavintage-styleCarnhillunit;transformer-balancedoutput; 300Ohmor1.2KOhmmicinputselector;48Vphantompowerselector;Hi-ZDI;LEDilluminatedpushbuttons;andLEDmetering.AlsoavailableistheCPS-501,anAPI500-Seriescompliantpowerchassisforusewithanysinglespacemodule.It can be used in a desktopconfigurationorrack-mountedanduptonineunitscanberackmountedverticallyintheModelCRM-9mountingframe.www.chameleonlabs.com

Audio Maintenance limitedExclusive to Audio MaintenanceLimited(AML)istheCarnhill5003D,anAPI500-SeriescompatibleClassA mic preamp that uses Carnhillinputandoutputtransformerswithswitchablegain(10to65dB)andtrim(0to-10dB)controls,switchableinputimpedance,plusphantompowerandphaseswitches.www.audiomaintenance.com

Burl AudioBurl Audio’s B1 micpreamp has an all-discrete transistor,Class-A,direct-coupled,capacitor-free circuitpath.BasedontheAPI500-Seriesformfactor,itcomeswithgainandlevelcontrols,plustransformer-coupledimpedanceselectiontosuitdynamic,condenser,orribbonmicrophones.Backpanel-mountedXLRinputandafrontpanel1/4-inchinstrument/lineinputcompleteitsfunctionality,togetherwithLo-Z,Pad(30dB),+48V(phantompower),andphasereversebuttons.BurlAudioalsomanufacturestheB1D,whichreplacestheB1’scustomBX2nickeloutputtransformerfortheall-ironBX4,resultingin‘amoreterrifyingtone!’www.burlaudio.com

Chandler limitedNewfromChandlerLimitedaretheLittle Devil 500 Series modules,comprisingtheLittleDevilCompressorandLittleDevilEqualizer.TheformerisaFETcompressor,usingelementsofChandler’s ‘full-size’GermaniumCompressorand2264Compressor,featuring an input control (curveselectionwithzenerandgermaniumdiode knees), mix, three-positionratio, sidechain filter (-30, 60, 90,150,300Hz),release,andhardwirebypass.Thelatterfeatures‘English-styleconsole’EQsimilartoNeve1081and33115vintageunits,TrebleandBassshelf(+/-18dB),HiandLoMid(+/-18dB)withsevenselectionsperband(plusQswitching),three-positionfilter(-47,82,and150Hz),andhardwirebypass.www.chandlerlimited.com

A-Designs Audio

A-designsAudiocurrentlymanufacturessixmodulesofitsowndesign,eachofwhicharefullycompatiblewithAPI500-SeriesLunchboxmodularrackframeformat(andpowersupply),andalsothosefromBrentAverillandOSA.TheP-1isinspiredbyA-Designs’19-inch1UPacificasolidstatestereomicpreamp,andaimstocapturethesoundofthe1970s-vintageQuadEightVenture,Coronado,and(namesake)Pacificaconsoleswithnotablefeaturesincludingpad,phasereverse,48Vphantompower(withredLEDindicator),1/4-inchDI,Hi-Z instrument input,custom-woundinputandoutputtransformers,plustheall-importantcream-colouredfaceplate(inkeepingwiththeaforesaidPacifica).

TheEM(Erickson/Montessi)Seriesarealldistinct-soundingvariationsontheP-1,comprisestheEM-Red(withacustom-woundinputtransformerandthesameoutputtransformerastheP-1toproduceamore‘mid-level’orientatedsoniccharacter);EM-Blue(withanickel-woundtransformerforabrightertoneandairytopend);EM-Silver(samefeaturesastheP-1,barthedarker,warmer-soundingcustom-woundsteeloutputtransformer),andEM-Gold(combiningthecustom-woundoutputtransformeroftheEM-Silverwiththecustom-woundinputtransformeroftheEM-Redtoproducethedarkendoftheformerwithmore‘upfront’mids)modularmicpreamps.

Finally,theEM-PEQpurportedlysqueezestheclassicPultecEQP-1Afilterdesignintothe500-Seriesformatwithoutcompromisingbuildqualityorsonicperformance,maintainingtheEQsectionandcontrollayouttoincludeanickelcoreoutputtransformer,Wimacapacitors,andatruehardbypass.www.adesignsaudio.com

Atlas Pro Audio

TheJuggernautisanall-ClassAdiscrete,transformer-coupled,API500-Seriescompatiblepreamp,designedbyTimFarrantandNathanEldred.Featuringpushbuttonswitchablecustom-inputtransformers(ironornickel)withauto-muteswitching;boost(loworhighgainsettings);41-positiondetentedAlpsgain(selectableinapproximately1dBincrements)andimpedance(300Ohmto10KOhm)potentiometers;70dBofgain;highheadroom;instrumentDI;polarityreverse;and48Vphantompower.

APAisalsomanufacturersTheRevolver,billedasbeing‘Theultimateportable500poweredseriesrack.’TheRevolvercanholdtwosingle-width500-Seriescompatiblemodulesorasingledouble-widthone,andcanbeusedvertically.Alternatively,one,two,orthreeRevolverscanberackmountedhorizontallyusingAPA’scustom19-inchrackkits.TheRevolveris100%compatiblewithallAPI500-Seriesmodules,andincludesanoversizedinternalpowersupply.www.atlasproaudio.com

Alta Moda AudioA l t a M o d a A u d i om a n u f a c t u r e s t w omodules designed foruse in API 500-Seriescompatibleracksystems.AM-10 single-channelcompressor/limiter withdiscreteFETgaincontrolelement; independentcompressor and limiterside-chains;automaticorfully-variablecompressionattackandreleasecontrols;switchablelimitedrelease

times,independent,three-positioncompressorandlimiterside-chainfilters—canbeseparatelylinkedtootherAM-10modules.Ithasdualmetering—simultaneousgainreductionandoutputlevel—effectlevelcontrolwith20dBgainmakeupaftercompressionandbuilt-inmixcontrol—blendvaryingamountsofdryandcompressedsignalsattheoutputstage.TheAM-20isafour-bandparametricEQwithfourcontinuouslyoverlappingfrequencybands—high4kHzto20kHz;high-mid1kHzto7.5kHz;low-mid65Hzto2kHz;andlow20Hzto120Hz—continuouslyvariablefrequencyandgaincontrols;continuouslyvariableQcontrols;low-noise,low-distortionamplifiertechnology;andhard-wirerelaybypass.www.altamodaaudio.com

vsi AudioTheAPI500-SeriescompatibleL-21Mic/LinePreamprespectstheheritageoftheAPI512micpreampbyusingthesamebasicelements,proprietaryinputtransformers,discreteamplifierblocks,andproprietaryUIoutputtransformers,whileprovidingsteppedcontroloverinputattenuationandtrueoutputlevelcontrol,plustwohigh-passfiltersettings,phantompower,phasereversal,andaninputpad.

TheL-23ValveMicPreamp/Compressorhasaproprietaryinputtransformer,dualvalvestagesoperatingat270VDCinapentodeconfiguration,proprietaryoutputtransformer,-20dBpad,48Vphantompower,phasereversal,andthesamehigh-passfiltersastheL-2.There’salsoacompressorcircuit—with2:1,4:1,7:1,and10:1ratios—exhibitingsimilargaincharacteristicstoaUniversalAudioLA-2A,butusinganopto-coupledcontrolcircuit.

VSIAudiomanufacturesthePSU-T300Lunchboxsix-modulechassisandsupplyforitsownmodulesandAPISeries-500compatibleonesfromothermanufacturersthatprovidesanadditional300Vforvalveprocessors.www.vsiaudio.com

BoZo electronicsAsamicpreamp,SerbianmanufacturerBoZoElectronics’MP3Apromises‘MassiveSound.MassiveQuality.SmallSize.’Ithasawidegainrange(20to64dB);12-stepswitchedgaincontrol;+/-6dBfinegaincontrol;-20dBpad;48Vphantompower;high-passfilterswitch;polarityswitch;andelectronicallybalancedI-O.www.bozoel.com

RealiosRealios’A9031micpreampisbasedonDickSwettenham’sthree-transistordesign for Olympic Studios; thisversionfeaturesaClassAtransistoroutputstage,whileotheradditionsincludefiner(5dB)gainstepstooffer20to70dBgain,ahigh-impedance(3.3MOhm)DI,phasereverseswitch,andswitchablephantompower.www.realios.com



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Danfield AudioDanfieldAudiowasoneofthefirstcompaniestobeacceptedasamemberof theVPRAlliancewithitsMX20vpr,thefirsttransformer-lessmicpreamptobeapprovedbytheVPRAlliance.BasedonitsMX20transformer-lessracksystem—originallydesignedforclassicaltrackingapplications—theMX20vrpboastsan3Hzto700kHzfrequencyrange,designedtoofferwidesignalcapture,whileitsgainpotisanultra-highperformance24-stagecalibratedswitch.Thehigh-passfilterisvariablefrom20to800Hzforaccurateandwide-ranging12dB/octfiltering.TheMX20vrpmoduleishot-swappable.www.danfield-audio.com

Brent Averill enterprisesAlthoughpreampsandEQmanufacturerBrentAverillEnterprises(BAE)doesnotmanufactureanyAPI500-Seriescompatiblemodulesofitsown,itdoesbuildsome500SeriesRacksinvariousconfigurations(six-spacerack,six-spaceLunchbox,and11-spacerack,eachwithintegralpowersupplyand48Vphantompower)tohousethosefromothers.Italsobuildsthe8-ChannelRack(10SeriesModuleRack)and8CM(8-ChannelMixer),theformerbeinganeight-module,self-poweredrackforvintageNeve10-series8.75-inch-highmodules,includingthe1066,1073,and1084,aswellasthecompany’sownreproduction1073and1084micpreampmodules.Thelatterisan8-channelmixerthancanhousethe10-seriesmodules (allowingmicand line inputsofeachmoduletobemixedtoeitherleftorrightchannelswithindividualpancontrolsandoutputlevel,whileastereooutputisprovidedforattenuatingallchannels,andbusingamplifiersarethesameClassAonesusinginthecompany’s1272module.www.baeaudio.com

KMR AU

DIO

D.A.VBG501

Incredible value Decca-heritage UK high-gain 66dB ultra clean pre-amp

JDK AUDIOV14Extremely high quality 4-Band Equalizer. Freq/Gain controls on dual concentric pots

PURPLE AUDIOACTION

Based on Purple Audio’s popular MC77 re-engineered

1176 type FET limiter

SHADOW HILLSVandergraphFully discrete Class A design descended from Shadow Hills’ highly regarded mastering compressor

SHINYBOXGuillotine

Wide range filter, neutral and surgically accurate. Wonderfully

useful in many applications

BUZZ AUDIOPotionVery fast FET compressor with Lundahl transformers to add richness and energy to your tracks

ANAMODAM660

Faithful recreation of the Fairchild 660’s classic valve signature

API527New model based on API’s 225L channel compressor with patented THRUST circuit

email • [email protected] web • www.kmraudio.comkmr audio, 1375 high road, whetstone, london N20 9LN

02084452446

API originally designed the 6-slot Lunchbox to allow engineers a way of taking 500-Series modules from their legendary consoles on remote sessions. It has since grown into the most versatile portable format on the market with designs now available from many boutique manufacturers.

Easily reconfigurable to suit any application, the Lunchbox is a true sonic “Swiss Army knife”.

KMR Audio stock a large range of 500-Series modules - please call us for friendly and unbiased advice.

MIXINSIDETHE LUNCH

BOX

1007 KMR - Resolution.indd 1 1/7/10 22:17:57

DAv electronicsDAV Electronics services and designs high-performanceaudioequipment.This includestheBG501(BroadhurstGardens501),anAPI500-Seriescompatiblemicpreampwithahigh-impedance (1.8MegOhm) DI input, offeringswitchedgaincontrols(from22to66dBin4dBsteps);switchable26dBpads;phasereversal;andswitchable48Vphantompower.www.davelectronics.com

skibbe electronicsSkibbe Electronicso p e r a t e s o u t o fproducerandengineerteam Bill Skibbe andJessicaRuffins’KeyclubRecordingCo.studio.Its Flickinger 736-4is an API 500-Seriescompatiblemicpreamp,adaptedfromSlyStone’scustomFlickingerMOD-N-32matrixconsole(circa-1970)thathasresidedatthestudioforthelast12years.FeaturesincludeoriginalUTRAD/Flinckingerinputandoutputtransformers,original535-7discreteop-amptopology,hand-matchedandgradedtransistors,Tantalumcaps,20dBpad,sealedrelayswitchedpolarityreverse,phantompowerswitch,adjustablegain(5to60dB),andheavy-dutyPCBandchassisconstruction.www.keyclubrecording.com/skibbe/

JMK AudioThe JM-530 500 Series Preamp is an API 500-SeriescompatiblemodulewithaJensenJT-16Binputtransformer,990discreteClassAop-amp,Jensenoutputtransformer,andoutputpad.www.jmkaudio.com

little labsLittleLabs’ latestproduct istheVoiceofGod(VOG)analoguebassresonancetoolthat represents thecompany’s firstentryinto theAPI 500-Seriesmodule format.Originallydesignedtocapturevocalists’chestresonancetocreateaproximity-typeeffectwithouthavingtobesoclosetothemic,insteaditendedupexcellingatmakingkickdrumsandbassinstrumentssoundhugebysweepingasharppeakresonancefrom20to300Hz,withanythingbelowbeingrolledoffatasteep-24dB/oct.www.littlelabs.com

MMt/MisOThe MMT preamp and DI is billed asa repackaged (unspecified) classic APImicrophonepreamp,compatiblewiththeAPI500-Seriesframeformat.NotablefeaturesincludeanoriginalAPI2520op-amp,originalAPIoutputtransformer,custom-wound‘vintage2622’equivalentinputtransformer,reversetaper gain potentiometer, 48V phantompower,phasereversalswitch,customHi/LoImpedance/Posttransformerpadswitch,andcustomDIpaththroughthetransformer(API

312-style)ordirectlyintotheop-amp(API512-style).www.misomusic.net

tRue systemsPT2-500PrecisionMicPreampisTrueSystems’first 500 Series Module and features thecompany’sType-2design.FeaturesincludeanewDIcircuit,DIthrujackforampingoreffects,andhighheadroom.www.true-systems.com


Dramastic AudioDramasticAudio’sObsidian500StereoCompressorisapparentlythefirststereobuscompressorfortheAPISeries-500frameformat.Assuch,itfeaturesTXIO-enhanced transformer-balanced I-O; precisionstepped controls, VCAfeed-forwardcompression,selectable internal high-passfiltersettings(30,60,105,125,185,and330Hz);selectablepadsettings;1.5:1,2:1,4:1,8:1,12:1,andinfinitycompressionratios;plusanexpansionportforadditionalfeaturesviatheObsidian500DualMonoExpansion.Thisoffersdualmonofunctionality,aduplicatesetofprecisionsteppedcontrols,independentmeteringofleftandrightchannels,andexternalsidechaininputforleftandrightchannels.www.dramasticaudio.com

vintage DesignThesoleAPISeries-500compatibleentryintheVintageDesignproductlineupistheM581mk2,anupdatedversionofitsM581vintage-stylemicpreamp.Noticeablechangesarethatthefrontpanel-mountedXLRhasbeenremovedandthattheHi-Zinputisfedthroughtheinputtransformer(viathesametypeofFETdriverusedinVintageDesign’sotherproducts),plusapower-ondelaytoprotectthePSU,andilluminatedpushbuttons.Thisapart,thesoundpathis identicaltothepreviousversion.www.vintagedesign.se

eisen AudioEisenAudio’sDIY500mkIIMinimalKitissomewhatunusualinthatitprovidespurchaserswithaframeworktobuildoneofnumerouspreamppermutationsbychoosingfrom45discreteop-amps,50-plusunique input transformers,and14differentoutputtransformerstoinstallontheDIY500printedcircuitboard.TheendresultiscompatiblewithAPI’s500-Seriesmodularformat.Alternatively,thosefavouringanon-DIY route who wish to have EisenAudiobuildthemauniquepreampwithaparticulartone,performance, look,and/orfeaturesetnotfoundinanycommerciallyavailableAPI500-SeriescompatiblepreampsshouldlookattheEisenAudioCustompreampservice.

Standardfeaturesincludeacontinuouslyvariablegaincontrol,frontpanel-positionedXLRmicinputs;frontpanel-positionsHi-Z(DI)inputvia1/4-inchjack,48Vphantompowerswitches,pad,andpolarityreverse.Ananodisedaluminiumfrontpanelisavailableinblack,blue,darkgreen,red,gold,silver,orbrownwithstandardCNCengravedfrontpanelmarkings(filledwithcolouredpaintinvariousshadesofblack,white,grey,orange,red,yellow,brown,orleftunfilledforametallicsheen).Allaremodifiableuponrequestalongwithachoiceofbuttonsandknobs.www.eisenaudio.com

shinyBoxShinyBox is Jon Ulrigg, maker of ribbonmicrophones and studio electronics; his SiMicrophonePreamplifierisanAPISeries-500compatibletransformerlessdesignwithupto72dBofgainin6dBsteps,10dBoutputtrim,andswitchableinputloading.www.shinybox.com

elysiaThexpressor500represents thecompany’s first foray into API’s500-SeriesformatandisastereocompressorwithadiscreteaudiopathrunninginconstantClassAmode.Themoduleborrowsseveralfeatures from elysia’s flagshipproducts — alpha compressor,mpressor,andmuseq—includingautofastattack,switchablereleasecharacteristic,warmmode,parallelcompression,sidechainfilter,andgainreductionlimiter.www.elysia.com

empirical labsEmpiricalLabs’EL-DSDerrEsserisbilledasbeingamultifunctionaldynamicfilteringdeviceinanAPI500-Seriesformatmodule;assuch,ithasfouroperationalmodes:DSMode(setthethresholdtotameharshsibilantsfromanoverlybrightvocalistorEQinginanon-level-sensitivefashion);HFLimit(alittlelikeahighfrequencycompressor—gainreductionoccurswhenthereisenoughhighfrequencycontenttoexceedthethreshold);Highpass(hearhighfrequenciesbeingcontrolledwiththedynamic/compressioncircuits—withadjustablecornerfrequency);andLowpass(hearlowfrequenciesunaffectedbytheVCAanddynamic/compressioncircuits—a12dB/octfilterwithadjustablecornerfrequency.

Notablespecificationsincludea3Hzto120kHzfrequencyresponse;115dBdynamicrange;DCcoupledinputsandoutputs;20kOhminputimpedance;and8W(max)powerconsumption.www.empiricallabs.com

The sound you can’t forget...Because you’ve always known it

Disney Hall L.A.

Find great spaces to place your music

The M7 Sterero Reverb Processor

The M10 Remote Consolewww.bricasti.com

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FiveFish studiosFiveFishStudiosofferspreampsanddo-it-yourselfkits,includingseveralAPISeries-500compatiblemodules.TheSC-1mk500isasolid-stateDCservo,dual-bufferedmicpreampdesignusingchipsetsfromTHATCorpandBurr-Brownwithelectronically-balancedinputandoutputstagesoroptionalinputtransformer.Ithasa12-positionGrayhillgainselectorswitchwith6dBgainstepsinthelowerrangeand4dBgainstepsintheupperrange.

TheX-12mk500isamicpreampusinginputandoutputtransformersoroptional990/2520formatdiscreteop-amps,offering12-stepgainfrom22dBto68dBin4dBsteps,-20dBpad,and48Vsoft-startphantompower.X-72mk500isamicpreampusingUK-sourcedinputandoutputtransformersfromCarnhilloroptional990/2520formatdiscreteop-ampswhiletheMX5mk500micpreampusesthesameCarnhillinputtransformerandacustom-madeoutputtransformer.www.fivefishstudios.com

grace DesignGraceDesignrelativelyrecentlylaunchedthem501API500-Seriescompatiblemicpreamp.Themodulefeaturesabalanced,transformer-lesssignalpathincorporating0.5%preciousmetalresistors,high-performanceoutputlinedriverandHPFamplifiers,plusRFIsuppression.Othernotablefeaturesincludea12-positiongold-platedgainswitchwithasealedgoldcontactrelayforHi-Zinputswitching,rotarytrim/gainpot(forfinetuninggainsettings),andGraceDesign’sexclusiveribbonmicmode.Thisraisesthemicimpedance,bypassestheinputdecouplingcapacitors,anddeactivatesthe48Vphantompowertoprotectdelicateribbonsfromdamage,aswellasprovidinga10to75dBgainrange.www.gracedesign.com

JCF AudioJCFAudio’sLEVRisanactivesummingmoduleforAPI’sSeries-500frameformatthatcanbeorderedinpairs,withorwithoutCinemagCMOQ-2Soutputtransformers.Notablefeaturesinclude9dBfrontpanelgainadjustment,driveandpunchofpush-pullcircuitrywiththestabilityofsingle-elementinputs,0OhmbalancedACinputimpedance,200Ohmbalancedoutputimpedance,variablegainfrom0to+9dB,allwithlessthan.01%distortionat+4dBu.www.jcfaudio.com

m105 – the full featured grace design mic preamplifier for the 500 series

rack. VPR alliance approved. Complete with HI-Z input, Ribbon Mic Mode and

our signature transparent, musical preamplifier circuitry.

The perfect palate cleanser for all the high calorie treats in your lunchbox.

snack size

Grace Design in the UK: Sound-Link Marketing +44 (0) 1223 26 47 65 • www.sound-link.co.uk • www.gracedesign.com

spotlight: sPl

M o d u l e s f o r s P l’s proprietary RackPack modular system include the Preference Mic-Pre, the Premium Mic-Pre ( t r ip le - s tage des ign w i t h l u n d a h l i n p u t transformers and discrete high-voltage transistors), the transient Designer, and the Ful l Ranger graphic eQ with passive coil filters for the whole frequency spectrum. there’s also a Bass Ranger graphic eQ with passive coil filters for bass frequencies, the vox Ranger for vocal ranges, and the twintube tube effects processor. DynaMaxx is based on sPl’s full-size Model 9735 compressor/limiter/noise gate, albeit with just two controls: Compression and Make up gain and the Dual-Band De-esser module has high and low de-esser stages to increase processing effectiveness.

sPl is also set to launch the four-module RackPack 4 addition to the eight-module RackPack frame and also manufactures the RackPack 500, opening up its proprietary modular system to also accommodate APi 500-series products from other manufacturers.www.spl.info



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Roger schultGermandistributioncompanyMasteringWorksfocusesonhigh-endaudiomasteringproducts;assuch,itislaunchingGermandesignerRogerSchult’sUniversalfilterW2377,anAPI500-Seriescompatiblefullyparametricfiltermodule.Preliminarytechspecsreadasfollows:levelcontrol(with0dBmidwayindent);frequencycontrol(low-,mid-,andhigh-bandfilter);nine-stepELMAswitch(forfilterresonanceadjustment);frequency-selectivehigh-andlow-passfilterfunction;truebypassandsoloswitches;pluspad.www.rs-mastering.de

inward ConnectionsInwardConnections’rangeofAPI500-SeriescompatiblemodulesincludetheEQ2Pfully-parametric2-bandEQusingSPA690discreteampblocks thatarecapableof20dBboost/cutperband.Featuresinclude35Hz to1kHz low-bandfrequencyrange,560Hzto16kHzhigh-bandfrequencyrange,bypassswitch,100KOhmbalancedinputimpedance, 600Ohm balancedoutputimpedance,and20Hzto50kHzfrequencyresponse.TheMDP500discretemicpreampwithDIhasbalancedinputandoutputtransformers;outputlevelrotarycontrol;selectablehigh-passfilterswitchesat70Hz,100Hz,and200Hz;-20dBpadswitch;12-positionrotarytrim,adjustableat5dBperstepbetween25to80dB;andHi-Zlow-levellineinput.

TheOTP1Aall-discretelimiterhasthesameOptocellgainreductioncircuitryastheTSL-3Vac-Ractubelimiterinasolid-stateformat.Featuresincludegainreductioncontrol—upto40dB;zeroadjusttrim;outputlevelcontrol–100kOhmbalancedoutputimpedance;high-passfilter—250Hzfordetectorcircuit;bypassswitch;andSPA690all-discreteampblocks.

TheStepEQfully-discretesteppedEQhascontrolsreminiscentofthePultecEQP-1A.Featuresinclude:selectablehigh-midbandcontrols—4,8,12,16,and20kHz;selectablemid-bandpeakcontrols—1,2,3,4,5,6,8,10,12,and16kHz;selectablelow-bandshelfcontrols—20,30,60,90,and120Hz;bypassswitch;SPA690discreteampblocks;anddifferentialbalancedinputtransformer–600Ohminputimpedance.TheVC500VCAcompressorusestheSPA690op-ampwithmilitaryspecconstruction.Ithasatransformerlessdifferentialbalancedinput;gainmakeupcontrolwith+/-16dBattenuation;-40to+22dBthresholdcontrol;ratiocontrolrangingfrom2:1to30:1toinfinity;attackcontrolrangingfrom.2msto20ms;releasecontrolrangingfrom.1sto3s;high-passfilter—250Hzfordetectorcircuit;stereolinkswitch;andbypassswitch).

It’sworthnotingherethatInwardConnectionsdivisionTreeAudiomanufacturestheTree500Consoleasafully-customisable‘500Series’recordingconsole,availablein12-or24-channelconfigurationswiththreetiersofAPI500-SeriescompatiblemoduleslotsavailableforanycombinationofAPI500-Seriescompatiblemodules.www.inwardconnections.com

Pete’s Place AudioAvensonAudio’sBAC-500isanAPI500-Seriescompatiblefeedback-styleFETcompressormodulebuiltaroundtwodiscreteopampsandacustom-woundoutputtransformerandcapableofdeliveringalmost50dBofgain.Notablefeaturesincludeathree-positionsidechaincontourswitch,eight-LEDgainreductionmeter,distortionandbypassbuttons,flexibleattackandreleasecontrols,five-position(2:1to20:1)ratiocontrol,plusaninfinitysetting.www.petesplaceaudio.com

Forssell technologiesTheSMP-500is,inessence,anotherversionofForssellTechnologies’SMP-2micpreamp,albeitreengineeredtoworkwithinanAPISeries-500single-space.Circuitry-wise,itfeaturesanall-ClassAdiscreteJFETfrontendwithagainrangeof+8to+64dBin24switchedsteps;afullybalancedandfloatingoutputwithamaximumoutputlevelofmorethan+26dBu;pluspolarityinvertand48Vphantompowerswitches.www.forsselltech.com

Roll Music systemsRollMusicSystems’RMS5A7isbilledasareal,transformer-coupledvacuumtube(12DW7/ECC832/7247)micpreamppackagedinanAPISeries-500compatiblesingle-spacemodule.Specsarequotedas1200Ohmbalancedinputimpedance,300Ohmbalancedoutputimpedance,+22dBuRMSmaximuminputlevel,+25dBuRMSmaximumoutputlevel,33to66dBgainrangeand-20dBinputpad.www.rollmusic.com

Foote Control systemsTheP3500CompressorisanAPISeries-500compatiblecompressorboastinga102.1dBAdynamicrangethatpermitsswitchingbetweenfeed-forwardandfeedbacktopologywithautomatictimeconstraintsforalmost‘autopilot’operation.ThefeaturesincludebalancedI-O;high-qualityconductiveplasticpotentiometers;gold-platedswitchcontacts;ARmode(forcustom-tailoredattackandreleasetimes);NL(Non-Linear)mode(thatautomaticallyadjuststimeconstraintsaccordingtoprogrammematerialcontent)andRMSmode(useshumanearresponsesasacompressionmodel).ThePeakmodeusespeakdetectionforthickcompressioncharacteristicsandthere’sahigh-passfilterat100kHzbeforedetector,variablethreshold(-36to+20dB),continuouslyvariableratio(1:1to12:1),makeupgain(-20to+20dB);+27dBumaximumoutputlevel;20kOhm(balanced)/10kOhm(unbalanced)inputimpedance;and50Ohmoutputimpedance.AlsoavailableisthePS3500SStereoExpander,whichturnstheP3500Compressorintoastereounit.www.mercenary.com

laChapell AudioMicpreampspecialistLaChapellAudio’sModel583SpurportstobethefirstvacuumtubepreampdesignedforAPI’s500-Seriesframeformat.It’sbasedonthecompany’s‘full-size’Model992EG(ExtendedGain)platformtoincludeatraditionalsingle-ended-typeinputstageusinga1:10micinputtransformertogetherwithanECC83/12AX7vacuumtube,whiletheoutputstageusesBurr-BrownandTHATCorporationlinedrivers.

ThemoreexpensiveModel583E features thesameamplifierstageasthe583S,includingtheJensenJT-115kinputtransformer,coupledwithanultra-cleantransformerless3-bandEQsectionwithsweepingfrequencycontrols(low:30to400Hz;mid:325Hzto5kHz;high:2.5to20kHz)and

+/-8dBcut/boostsettings.TheEQcanservethepreampasanintegratedEQorseparatelyasitsownautonomousmodulewithboth‘units’runningindependently.www.lachapellaudio.com

Something Old Something NewVertigo has perfected the blend of the old and new.

Old style smooth vca compression with the latest circuitry give the highest performance and the latest mastering grade signal path.

The VSC-2 is a quad discrete compressor using four vcas built by hand in Germany using only discrete components of the highest quality. The VSC-2 is packed with features with a minimum of circuitry,

for the ultimate pure signal path. The Vertigo 1979 VCA is unique and has been designed to mimic old

style 70’s & 80’s compressors, giving an analogue punch and clarity that is impossible to imitate with software plug-ins.

The Vertigo gives you a sense of trust and security, that your entire mix programme is safeguarded from becoming cheap sounding and one-dimensional. - Matt Howe - Grammy Award Winner.

v e r t i g o s o u n d . c o m

As a stereo bus compressor the unit excels. Across the mix, the sound is punchy and dynamic, the 1979 VCA adds a certain vintage-style colouration as it is pushed and a pleasent subtle crunchiness begins to occur. - George Shilling - Resolution

Vertigo3.6.indd 1 24/4/09 13:04:35



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tonelux Designs

Toneluxmanufacturesanextensiverangeofproprietary(Tonelux)modules,mountableinthecompany’sVRACK(a3Urack-mountableunitthatcanhouseupto16,1slot,Toneluxmodules)orV8Roadster(eight-slotportable),orbeconfiguredtoformacompleteconsole.

Typicalproductconfigurationsinclude:MP1a(discretemicpreampwithafrontpanel-mountedComboXLR/DI;20dBpad,48Vphantompower,andphaseorpolarityswitches;eight-segmentVUmeter);EQ4P(discrete4-bandparametricEQwithConstantEnergyCurve);andtheMX2monoinputlinemixerusingaproprietaryall-discreteTX-240op-ampand,withtransformeroption,anall-discreteTX-260outputstage.www.tonelux.com

Mooktronics ResearchHollywood-headquarteredMooktronicsResearch’sAPI500-SeriescompatiblePDI500isapassiveDIboxmoduleavailablewitha Jensen transformer (impedanceratio200kOhmto1.5KOhm;turnsratio:12:1;linearity20Hzto50kHz)orCinemagtransformer(impedanceratio:20kOhmto150Ohm;turnsratio:12:1;linearity20Hzto50kHz).Itfeatures1/4-inchgold-platedinputandthroughjacks,pad,-20button,

polarityreversal,G-Lift(eliminateshumandbuzz),andlogic-controlledrelays.www.conwayrecording.com/mooktronics/

Prodigy engineeringProdigyEngineeringhas a s ingle API500-Seriescompatiblemoduleinitsproductline up — namely,theBella.Purportedlythe f i r s t remote-controllable(MacOSXonly)API500-Seriesc o m p a t i b l e m i cpreamp it featuresanoriginal amplifierdesign;relaysteppedgain(18to60dBin1dBincrements),switchablehigh-passfilter,48Vphantompower,polarity,andmute;cross-channelselectionandgroup;andseamlessintegrationwithDAWsandcontrolsurfaces.www.prodigy-eng.com

standard AudioStandard Audio’s Level-Or is an APISeries-500rackcompatibleJFETlimiter/distortion processor, inspired by the1960s-vintageShureLevel-LocPAlimiter.InLevelmodeactsliketheLevel-Loc,albeitwithanadditional,fasterreleasetimeandabroaderrangeofcompressedsounds;inCrunchmodeitsweepstheinputlevelovertheprovidedrangetocreatesubtlesaturationandharmonicenhancement.Notablefeaturesincludeatransformer-balancedinput,electronically-balancedlinelevelinputstage(drivingbalancedloadsaslowas600Ohm),andoutputlevelcontrol.www.standard-audio.com

JlM Audio

JLMAudio’sAPISeries-500compatiblemodulelineupincludestheDual99v500micpreampthatusestwoofthecompany’sowndiscrete99Vop-ampsasatwo-stagegainpathtoprovide75dBofgain.Notablefeaturesforeachchannelinclude48Vphantompower,phaseswitch,20dBpadswitch,inlineinputtransformer,200Ohmto3kOhmvariableimpedance,80HzHPFswitch,andgainswitchedin5dBstepsfrom20to75dB.There’sanoutputtrimpotwith-5to0dBrange—-90to0dBwithknobpulledout—internaljumperforoutputgroundlift,andadoubled-sidedgold-platedrear-edgeconnector.

TheHPM500isa6-channelbalancedinputmixerwithswitchedpanningandlevelcontrolperinputthatfitsintoanModel500-6BLunchbox.TheNV500isJLM’stakeontheNeve1073/1290micpreampwithafullyvariableinputimpedance.Featuresinclude48Vphantompower,phaseswitch,20dBpadswitch,80HzHPFswitch,andanoutputtrimpotwith-5to0dBrange.ThePEQ500isaPultecEQP-1AandEQP-1R-typepassiveEQcircuitcombinedwitheightadditionallowandfiveadditionalhighfrequencies,plusaQcontrolcapableofgoingtwiceaswideasastandardPultecforthehighboostbellcurve.www.jlmaudio.com

shadow HillsMonoGAMAisanAPISeries-500compatiblesingle-spacemodularversionofitsGAMA(GoldenAgeMicrophoneAmp),completewithallthefeatures.There’saJenseninputtransformer,plusrecreationsofthecompany’sfavouriteoutputtransformers,theoutputofwhichcanbechangedbyturningtheNickel/Discrete/Steelselector.Standardmicpreampfeaturesincludephantompower,phasereverse,20dBpad,andDI,alongsidea24-position,Swiss-madeattenuatorforgaincontrol.www.vintageking.com

lipinski sound CorporationThe L-609 API Series-500compatiblemicpreamphasall-discrete,ClassApatentedLipinski Square Modulescircuitry,nocapacitorsorICsin the signal path, resistor-less20dBpad, transformer-less/transformerinputmode,negative feedback loop-implementedgaincontrolandprecisionrotarygaincontrol.The L-629 compressor hasoperationalprincipalsbasedontheFairchild670andnonoiseordistortionthroughpatentedLipinskicircuitry—claiming

0.04%maximumdistortionatthehighest18dBcompressionsetting—anattacktimeof0.01ms,andhardwiringforstereoandsurroundoperation.www.lipinskisound.com

spotlight: Audientthe Black series is a modular rack processing system using proprietary technology developed by Dave Dearden. the series comprises five modules, 10 of which can be accommodated in the externally Psu-powered, 19-inch rack-mountable Black Rack BR-10 (with an integrated rear connector allowing them to be freely installed in whatever running order suits the user, being able to hold analogue modules or up to four 24-bit/192kHz Black A-DC convertor modules).

Black Comp is a discrete Class A opto compressor with transformer balanced input, vu meter — switched between gain reduction and output level — auto-release function, ‘Overcomp’ Fet-based compression circuit for over-compression, ‘smooth’ dual-time constant mode for overall mix bus compression; and linking of modules for multichannel use. Black eQ is a discrete Class A 4-band eQ with transformer-balanced input, ‘enhanced slope’ HF/lF shelving, high-mid presence/absence, and swept low-mid, ‘Overtone’ lF band-specific harmonic enhancement, ‘glo’ lF band-specific dynamic eQ, and ‘tilt’, which shifts overall tonal balance around 1kHz. Black Pre is a discrete circuitry-equipped mic preamp with transformer-balanced mic and line inputs and unbalanced instrument/Di input, ‘HMX’ harmonic sculpting; variable high-pass filter, polarity invert switch, and 12-segment display.

the Black time Machine is a low-jitter master word clock generator with up to 192kHz sampling frequency, two Aes outputs and a word clock output.

More recently, Audient announced availability of the BB4, a smaller, portable carry-handle-equipped rack with integrated power supply, capable of housing up to four Black series modules. earlier this year Audient released the Black 500 adapter, a metalwork caddy that slots into the Black series racks to accommodate any single APi series-500 compatible module alongside Audient’s original Black series modules.www.audient.com



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Purple Audio

PurpleAudiohasaraftofAPI500-Seriescompatiblemodulestoitsname.ActionisFETcompressorreminiscentofthecompany’sownMC77reengineeredUniversalAudio1176-typeFETcompressor/limiter,featuringaconstantimpedance600Ohminputattenuatorfeedingtheinputtransformer—makingtheinputmoreresistanttooverloading.There’saClassAKDJ3op-amp,ClassABKDj4outputop-amp,drivingacustomhexafilarnickelandsteeloutputtransformer,totalgainis45dBuwith4:1,8:1,12:1,20:1,andinfinity:1—allbuttonsin–ratios.Ithascontinuouslyvariableattackandreleasetime,600Ohminputimpedanceand600Ohmoutputimpedance.

TheBizMkmicpreampandDIhasa+27dBumaximumoutputlevel,60dBmaximumgaininsinglemicmodeor75dBindualmicmode.Cansisadiscretestereoheadphoneampandcontrolroompreamp.Featuringa10kOhmtransformer-balancedinput,15dBugain,;individualchannelcuts,channelswap,channelsumtomonoplusaprecision-matchedstereolevelcontrol.LILPEQrwasdesignedbyEisenAudioasPurpleAudio’stakeonitsfavouritevintagetubeorvalveprogrammeEQs—theLangPEQ-1andKlangfilmRZ062–butinacompact,solid-stateformat.Itoffershighandlowfrequencyshelfboost/cutandtransformer-balancedI-Owithbridging20kOhminput.

Oddisa4-bandinductor-basedEQwithswitchablehighfrequencyfrombelltoshelf,4kHz/1.5kHzhigh-midfrequency,650Hz/300Hz low-mid frequency and150Hz/75Hz lowfrequency—alsoswitchablefrombelltoshelf,witha12dBboost/cutavailableoneachband.Pantsisafour-opdifferentialmicpreampwithadual-bobbinCinemaginputtransformer—thefrontpanel-mountedDIgoingthroughaFETbufferintotheinputtransformer,withtheDIloadswitchgivingtwooptions.Specsinclude+33dBumaximumoutputlevel,72dBmaximumgaininnormalmicmodeor78dBinhighmicmode.

TAVisa10-bandinductor-basedgraphicEQallowingeachbandtobecutorboostby12dB,offeringa+/10.25dBfrequencyresponsefrom15Hzto25kHzand-3dBat60kHz.PurpleAudioalsoproducestheSweetTen,itsown10-slotAPISeries-500frameformatmodulerackwithasecondbalancedoutputusing-2andlinkpinsforPurpleAudiopreamps’splitoutputandcompressorlinking.TheMoiynall-discrete8-channelsummingamptransformstheSweetTenintoan8x2mixer(albeitonlyworkingintherack’sninth’sslot).Bustisaneight-busrouterrack,thefirstinaseriesofnew1.5-inchmoduleracksinwhichtobuildfull-functionconsoles.www.purpleaudio.com

safe sound AudioTheP501AudioProcessorisanAPI500-Seriescompatibletrackingtoolbox.Itsfrontendisa60kHzbandwidthmic inputwith72dBofgain,ahigh-impedanceinstrumentinput,andbalancedlineinput—allaccessibleviaasinglegainknob,plusaswitchable80Hzhigh-passfilter.Thecompressorisbasedonthecompany’soriginalP1AudioProcessordesignusingamultistage sidechain toprovidetightly-controlledvocalcompressionusingadjustablethreshold,ratio,andattackcontrolswithauto-gainmakeup.Abalancedoutputstagewith+22dBudrivecapability,+/-15dBoutputgaincontrol(postlimiter),andonboardLEDbargraphmeteringforaudiolevelandgainreductioncompletethepackage.www.safesoundaudio.com

lAZ electronics

A n o t h e rm e m b e r o fthe GroupDIY51X Alliance,the UK’s LAZE l e c t r o n i c smanufacturesprimarilyfortheAPI500-Seriesand51X-500-Seriesframeformats.TherangecurrentlyincludestheEQA3-bandEQwithsweepablehigh-shelf,sweepablemidwithswitchableQ,andsweepableshelf/peaklowband.IthasadiscreteFETinput,continuouslyvariable12dB/octhigh-passandlowpassfilters,differentialinput;andtransformer-balancedoutput.TheFSCForssellSideChainSeries-500opto-compressorkitisbasedonFredForssell’spublisheddesignthatisonlyavailableasaDIYkit.

TheMPAisadiscrete,dual-stagemicandDIpreampwithupto80dBofgain.ItfeaturesadiscreteFETinput,relay-switchedDI,48Vphantompower,20dBpad,polarityflip,plusan80HzdiscreteFET12dB/octhigh-passfilter.www.lazpro.com

Buzz AudioBuzzAudioproducesfour API 500-Seriescompatiblemodules,all featuring a newdesign combininghigh-speedTrueClassAdiscreteamplifierswithhighspecLundahlaudiotransformers.TheExilirisatrueClassAmicandinstrumentampwithamicinputgainrangeof22dBto70dBor-2dBto50dBwiththe-20dBpadselected,41-positionmaxtrimmedgaincontrol,outputmuteandHi/Loinputimpedanceswitches,andafour-LEDpeaklevelmeter.EssenceisaClassAdifferentialoptocompressorwithacontrolcircuitdesignbasedonthecompany’sSOC1.1stereoopticalcompressor,usingthesamedifferentialdrivesidechaintopologytoprocesspositiveandnegativeaudiowaveformsinseparatepathstocreatefasterattacktimes.Themoduleoccupiestwoslotsina500-Seriesrackwithaccordinglyhigher120mApowerconsumption,thoughbeingspreadovertwostandard60mAeachslotsthisissaidtobefinewithallracks.

PotionisaClassAFETcompressorthatcombinesaFETwithnewBuzzAudiocontrolcircuitrytoachieveanoriginalcompressioncharacteristic,includingso-calledReleaseTimeReductioncircuitrytoautomaticallyalterthereleasetimesettingofthecompressor,dependingontheattackdepthtopreventundesirable‘pumping’artefactswhenusingfasterattacksettings—approachingtheperformanceof‘lookahead’digitallimiterswithinanaloguedomainconstraintswhensettoa20:1ratio).TonicisClassAequalizerofferingthreebandswithasweepmidrangesection—from75to1500HzwithamidrangeQusingaConstantAmplitudePhaseShiftcircuit.Thehighbandisswitchablefrombelltoshelfandfeatures5kHzand11kHzfrequencysettings,asisthelowband,boasting120Hzand60Hzfrequencysettingswith+/-15dBofboost.www.buzzaudio.com

Avedis Audio electronicsAvedisAudioElectronics’MA5isasingle-slotAPI500-Seriescompatiblesingle-endedClassAmicpreampwithaUK-manufacturedCarnhill/StIvescustomtransformerandcustom-designedJensenoutputtransformer;stepped-gain(in5dBsteps)rotaryswitch;outputlevelpotfortrimandmute;28kHzpushbutton(tohighlighthighfrequencydetail);andcustom-madeMarconi-styleknobs.www.avedisaudio.com

resolution July/August2010xiv/32


SHOWcASE

Rupert Neve DesignsThePorticoSeriesof so-called‘all-analoguebuildingblocks’isaproprietaryrangeof‘half-rack’sizedmodulesavailableinhorizontalorverticalformats.

Thiscurrentlycomprisesthe5012DuoMicPreamp,5014StereoFieldEditor,5015MicPre/Compressor,5032MicPre/Equaliser,50335-bandEqualiser,5042TapeEmulatorandthe5043DuoCompressor.

RNDmanufacturesvariousaccessories,includingtheVerticalFrameKit,anoptional19-inchframecapableofhousingeightverticalPorticomodules,andincludesspaceforanincludedeight-waypowersupply.There’salsoaHalfRackJoiningKitdesignedtomountasinglePorticomodule in a 1U rackspaceandaHorizontalJoiningKitformountingtwoPorticomodulesina1U.

The5088DiscreteAnalogueMixerhasamodulararchitecturethatpermitstheadditionoftwopenthousestoaccommodateverticalPorticomodules.www.rupertneve.com

Pendulum AudioPendulumhaschosentoreproducethecoreperformanceofitsOCL-2Compressor/LimiterinitsfirstAPI500-Seriescompatiblesingle-spacemodule,theOCL-500,whichfeaturesthesamecompressioncircuit,butusesatransformer-lessClassAsolid-statemakeupcircuitinplaceofthetubestage.Similarly,theOCL-500hasawiderangeoftimeconstantsanddynamiccontroltooptimisecompressioncharacteristics,includingasidechainhigh-passfilter.Notablespecificationsincludea+27dBu(balanced)maximumoutputlevel,27dBmaximumgainreduction,10Hzto95kHzfrequencyresponse(+/-1dB),and1.5:1to15:1compressionratios.www.pendulumaudio.com

XQP (Xylene Quickened Products)TheAPISeries-500compatible531OpticalDe-essermoduleisaderivativeofthelittle-knownDaneOpticalDe-esser#31(circa-1997).UsingapairofVACTROLopto-isolatorsforgainreduction,thecircuitisessentiallyunchangedfromtheoriginal,barafewminorrevisionsforstabilityandconsistencyfromunittounit.www.xqpaudio.com

spotlight: tube-tech

tube-tech has its own proprietary modular rack format in the RM series. the RM series differs from APi’s 500-series approach in that the Psu provides all the high voltages needed to properly handle tube technology. RM modules currently include the CM 1A Compressor; the eM 1A equaliser; and PM 1A Mic-pre.

tube-tech also manufacturers the RM2 (two-slot frame and power supply) and the RM8 (eight-slot frame and power supply).www.tube-tech.com

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Everything you need to know to keep ahead

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T he Workhorse is a combination 500 series lunchbox frame and summing mixer designed to work with today’s computer based workstations. The design allows up to

eight 500 series modules to be combined in series or in parallel and then ‘mixed’ to the master section for stereo recording.

Following the API VPR 500 series specification, the Workhorse is designed to be backwards compatible with current 500 series products. Each slot is outfitted with XLR-M input and XLR-F output for direct patching to the module. This is augmented by TRS connectors to simplify interfacing with ¼-inch balanced and unbalanced signals. Separate 25-pin D-subs are wired to the Tascam standard for easy 8-channel interfacing with workstations and standalone recorders.

As the Workhorse is intended to interface with as many different modules as possible, a special TRS connector called Omniport allows the designer to introduce a module-specific feature — such as a key input on a gate, footswitch for a guitar interface, or an extra output for a re-amping module — as a means of expanding functionality. Even and odd numbered slots may also be linked together for stereo by assigning the rear panel switch. To manage signal flow, each card slot is equipped with a ‘feed’ function that sends the output from the first module into the next. This feature allows the engineer to create a custom channel strip by combining a preamp with an EQ, compressor and gate and feed the mix bus by taking the signal from the last module in the series chain or by combining their outputs in parallel via the mix bus which drives the master mix section.

The Workhorse master section features a low noise virtual earth mix bus and is equipped with individual channel-on, level and pan controls for each of the eight channel slots. This allows each channel to be auditioned individually or mixed in stereo to the master outputs, monitor outs or the headphones. The master out is Jensen transformer isolated to deliver a more ‘vintage tone’ while providing galvanic isolation to reduce noise; the Monitor Out is IC balanced when you don’t want the colour of a transformer. A separate 25-pin D-sub allows 8-channel summing for those who prefer the sound of analogue over in-the-box digital. Dual headphone outputs with a mono select makes the Workhorse suitable for live recording environments and multiple Workhorse frames can be used in tandem for 16, 24 or more channel mixing using the expansion bus.

Like all Radial products, the Workhorse is made from 14-gauge steel and finished in a rugged baked enamel finish. The card slot bay has a removable tray

equipped with slide-in guides that make swapping modules easy. To ensure optimum performance, each module receives +/-16V with 130mA of current plus 48V phantom for microphone preamps. The Workhorse derives its main power from a custom-designed universal switching supply. The external supply eliminates issues such as hum caused by magnetic coupling. Careful attention has been paid to power supply filtering and tracking inside the Workhorse. This protects against module failure caused by harmful voltage swings that could otherwise affect other modules. Separate power supply and phantom status LEDs illuminate when power levels are normal.

When we were showing our first lunchbox module prototypes, we purchased a couple of power supply racks so that we could demo the product. As soon as we started to plug the modules in and out, we noticed that the card edge connectors were difficult to line up and wondered why no one had fixed this obvious problem. It seemed strange to us that such an innovative idea had not evolved since its 25 plus year history. This got us thinking about how the Lunchbox is used today, how it could interface with DAWs and where it could be used. It seemed to us that with most folks recording ‘in the box’, lunchbox modules now play a different role in that they are most often used as the primary intake for audio before it is digitised; used as audio sweeteners; or as part of the mastering or mix process. The racks that were on the market did not seem to address this so we had no choice. The only way to make all of this work for us was to redesign the lunchbox to adapt, while retaining old-style module compatibility.

As we delved further into the project we found that what should be ‘standards’ were not always consistent. We found variations in metalwork, some module manufacturers had different power requirements, and no set rules when it came to establishing the bus levels.

Once we got the Workhorse frame designed, we then found that the traditional feature set was limited to traditional audio modules. This got our creative juices going. We wanted the Workhorse to be wide open — in other words we wanted guitarists to be able to use it. Omniport opened the door by allowing each module to have a unique access point for audio or some type of relay function. Now, a mic preamp could also have an instrument input or you could add a second balanced out for a distribution box.

We have opened the book on the Workhorse to allow any engineer to produce modules that will be compatible with the Radial Workhorse while still being 100% compatible with API’s original system.

The workhorse was designed from the ground up. That meant we had to have a bigger supply and incorporate tracking into the rack power supply to avoid failure to rack and modules in case one module should find a power short. The outboard medical grade power supply also has a shut down feature separate of the workhorse internal protection circuits. We also increased the phantom voltage to just over the industry standard of 14mA, something that was lacking on some racks, limiting microphone performance. The internal removable tray allows an easier ‘plug and play’ feature for the user, modules slide in and out with ease.

The current rack standard uses In, Out, and power

pins. We use the same pins including the pin 6 Link function and used the remaining pins for the Omniport and bus feed. The bus feed comes from Pin 11 which it may with many existing modules that have the old gain feature, but don’t actually have a bus feed built in. For the virtual earth bus feed we use 4.7kOhms, which is the same impedance as the RND Portico series bus feed to allow maximum flexibility. The bus feature is so simple, nearly anyone can mod any module to be bus compatible.n

Creating a WorkhorseRadial Engineering president PETER JANIS gives an explanation of the technology and thinking behind the Workhorse modular chassis.

Radial engineering

TherearecurrentlysevenRadialmodulesunderway.ThePowerPreisa100%discretepreampwithtransformercoupledoutput.Threevoiceshavebeenincludedinthedesigntoallowtheengineertoselectmore‘air’withaddedhigh-endtoenhancemalevocalsandfolkguitar;‘punch’withmorelowstoenhancefemalevoiceorfattenupguitartracks;ora‘linear’settingforclassicalinstruments.

TheJDVisaClass-Ainstrumentinterfacewithafeed-forwardcircuitthateliminatesnegativefeedbackloopsinthefrontend.Lessfeedbackresultsinamoreopenandnaturalsoundandmoreharmoniccontent.ThisisaugmentedbydragControlloadcorrectionandafullyvariablelowcutfilter.

Toaddressrecordingdirect,RadialhasmodifiedtheJDXandaddedadirectfromguitarinput.Thisintroducesthesoundofatypical4x12cabinetmakingiteasytograbanoverdriveandguitarandstartrecordingwithouthavingtosetupmics.JDX-LunchboxisabletoperformtheotherfeaturesfoundontheoriginalandaddsFizzcontroltohelpreduceodd-orderharmonics.

Withre-ampinggainingmoreadvocates,RadialhastakentheX-Ampandaddedasecondamplifieroutputwithitsownlevelcontrol.TheEXTCisaguitareffectspedalinterfacethatletsyoutakeabalancedsignalandconvertittoHi-Zforguitarpedals.

TheKomitisacompressor-limiterthatcombinesold-schooldiode-bridgelimitingwiththelatestVCAtechnology.Threedynamicsettingsforslow,mediumandfasttransientresponsemakeiteasytosetandbecausethedesignletsyou‘drive’intothelimiteryoucancreatecrunch.

ThePhazerisacloneofthestandalonemodel.Thisallowsanytwosignalstobetimeshiftedtobringthemintophaseforfattersoundsormovethemelectronicallytocreateeffects.ItisClass-A.www.radialeng.com

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THE COMPLETE GUIDE TO YOUR MODULAR PROCESSING OPTIONS · 2016-08-15 · United States military. When his contracts expired with the government, he turned his attention to his true