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Automated Processes Inc. (API) , best known for their now legendary "2520 amplifier," formed in 1968 and continues to use the 2520 op-amp as the cornerstone of all API discrete products. The resulting console meets the needs of the music, commercial and broadcast industries, positioning API as the leading audio broadcast console manufacturer for audio production outfits of any sort. There are now over 700 API consoles around the world, including one at WNYC 93.9 FM, New York City’s premier public radio station. In 2009, Vintage King Audio worked with WNYC on the acquisition and installation of an API Legacy Console in the station’s revolutionary Greene Performance Space. API has also led the way in modular outboard technology with their VPR 500-Series products. Offering their own 512c mic pre, 525 compressor and 550a, 550b and 560 equalizers as the kingpins of the format, these units are fully interchangeable within any 500-Series compatible rack structure, supplying power and input/output connections directly to the modules. Several manufacturers today build modules and racks that are fully compatible with this versatile modular system.
The API Model 500VPR is powered externally by a tri-polar power supply (included) and is designed to accept API standard format 5.25" X 1.5" modules. The 500VPR is internally wired for PIN 2 hot, and comes with the API L200PS. The input/output jacks are both XLRs. The 500VPR can hold up to ten API modules. API makes several modules to fit this rack, including the 550A, 550B, 560, 525, and 512C. Like all API products, the 500VPR rack enjoys API's standard 5 year warranty. Features
Holds 10 API Standard Format 5.25" X 1.5" Modules
XLR Jacks for Inputs and Outputs
Pre Wired Rack
Externally Powered
19" Rack Mount, 3U Tall
Rugged Chassis
Perfect for Outboard EQ / Mic Pre Modules
FREE if you purchase any (8) NEW 500 Series modules.*
The 500V can be ordered with an optional 48 volt phantom power supply, bussed to pin 15 for the API 512C to access. It must be noted that the older API 560A series equalizers used pin 15 for a "direct output" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.
API makes several modules to fit this rack, including the 550B, 560, 525, and 512C. These modules are designed to help expand existing limited input console configurations, allowing a facility an option to a larger console.
Multitrack Recording of Acoustic and Electronic Audio Sources.
Sound Reinforcement Systems and Recording Live to Multitrack formats.
Multiple facility projects where portability is a concern.
Broadcast and Audio for Video Production.
Custom Channel Input Strips.
ADAT Type Portable Recording Setups.
API 500VPR 10 Slot Rack w/PSU Free when you buy any (8) NEW 500 Series Modules!
3U Vertical rack with external power supply that holds up to ten 500 Series modules *Modules must be NEW and purchased at online price of $549 or more.
... Learn more
Few equalizers enjoy the respect and admiration of the coveted API 550A .
Designed by the now legendary Saul Walker, an adjunct instructor in music technology, the 550A has been used in recording studios throughout the world, among them the Record Plant and Sunset Sound, and by such musical greats as Jimmy Page, Phil Ramone, the Doobie Brothers, Stevie Wonder, Leon Russell, Frank Zappa, Marvin Gaye, Herbie Hancock, and Bob Dylan. In 2008 the API 550A was inducted into the Technology Hall of Fame at the annual Audio Engineering Society (AES) Convention held in San Francisco. Walker, a fellow of AES, designed the equalizer in 1968, and the
discrete 550A was first used as a modular OEM equalizer. As the
industry rapidly embraced the sonic quality of the 550A, it quickly
found its way into many custom console designs by Frank DeMedio and
other leading engineers. Many of these consoles are still in use today.
Forty years later, the 550A remains the standard against which
other EQs are measured, and it has played a major role in the recording
industry for decades. Still copied but never duplicated, the 550A
became API's standard channel module EQ when the company began
manufacturing consoles in 1971. With virtually all existing units
spoken for, popular demand for this EQ resulted in API finally resuming
production in 2004. What accounts for its popularity and longevity? "The 550A design provides a fast, repeatable, and virtually foolproof mechanism to enhance or accentuate specific segments of the audio spectrum or to de-emphasize other tonalities while maintaining the essential integrity of the program material," Walker says. He notes that though newer technology provides greater flexibility at lower cost, permitting more drastic alteration of the sound spectrum, many artists just prefer the sound of the original 550A. Users of Walker's equalizer are fond of its acoustic properties – the 'sweet tonal change' coursing through the mix and its settings that allow for 'more bite or body' in the basses. "An equalizer is, in a way, a musical instrument," Walker says. The 550A provides reciprocal equalization
at 15 points in 5 steps of boost to a maximum of 12dB of gain at each
point. The fifteen equalization points are divided into three
overlapping ranges. The high and low frequency ranges are individually
selectable as either peaking or shelving, and a band-pass filter may be
inserted independently of all other selected equalization settings.
Frequency ranges and boost/cut are selected by three dual-concentric
switches and a push-button "in" switch allows the EQ to be silently
inserted into the signal path. A small toggle switch is used to engage
the band-pass filter. The combination of Walker's incomparable
2520 op-amp, and his "Proportional Q" circuitry gives the 550A user an
uncomplicated way to generate acoustically superior equalization. This long-awaited, limited edition reissue is a continuation of the equalizers produced by API exactly as they were in the 1960's, featuring hand-wired switches, the original circuit board design and API founder Saul Walker's signature on the chassis. an EQ that has had such a part
in the history of recording is continuing to make history in today's
music. Features
3 bands of classic API equalization
Each band offers 5 API selected frequency centers
Reciprocal and repeatable filtering
Maximum 12 dB of boost/cut per band
EQ bands 1 and 3 offer shelf/peak switching
"Proportional Q" narrows filter Q at extremes
Traditional API fully discrete circuit design
High headroom: +30 dB clip level
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
The API 512C is a mic/line/instrument preamp designed to provide a low noise, unusually good sounding front end for all types of audio systems. Sonically, it is at the top of the "Mic Preamp List", regardless of price. Offering low noise (-129 EIN) and 65 dB of gain, the 512C includes phantom power, switchable polarity, -20 dB pad and Mic/Line or Instrument selector. Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed in an API LunchBox, Six Pack, 10 position vertical rack, a 2 position horizontal rack, or an API console.
What makes the API 512C unique is its long evolution from the original 1967 era 512, the first modular mic pre, to the current full featured 512C, while preserving the original sound character that made it so much a part of the early days of recording. Offering high headroom and a wide variety of inputs and input access ponts, it is ideal for unusual and demanding applications.
Imagine a situation where only a few preamps are needed, yet the smallest available console has a proportonally "small" mic preamp, making it useless for the demanding application, or conversely, imagine where you need a large number of preamps, and a console of sufficient inputs and quality would be too large to transport or rack mount. The 512C hits the spot with its quality and famous tone. Expand, combine or downsize at any time without trade-ins or product obsolescence. In addition, the 512C's sound and performance exceeds most "console mic pres" in every respect.
The beauty of the entire API 500 Series is its long term flexibility and lasting value when needs change over time. With a range of mounting frame options, the 512C will be a valuable asset to your performance critical applications.
The 512C Mic/Line Preamp makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products.
Features
Mic Preamp with 65 dB of gain
Front and Back Panel Mic Input Access
Line/Instrument Preamp with 50 dB of gain
Front and Back Panel Line/Instrument Input
LED VU meter for monitoring output level
20 dB pad switch, applies to mic/line/instrument
48v Phantom switchable power
Traditional API fully discrete circuit design
Uses the famous API 2520 Op-Amp
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
The API 525 was originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.
The API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA "feed forward" compressors so common today. A remarkable multi-function "ceiling" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.
Release times vary with frequency, with high frequency/full bandwidth content released faster than just low frequency for natural envelope tracking. Attack time is fixed, chosen to catch the fastest peaks, without "pumping". Equally useful as a tracking, mixdown or program compressor/limiter, the benefits of the API 525 are most obvious to those who use compression on a regular basis. "Vintage" dynamics control, an easy to use multi-function control set, and a wide range of 500 Series mounting options assure that the 525 will surpass your most critical applications. With the addition of a hard-wire bypass switch, a balanced input, and a pinout that is the same as all the other 500 series modules, the 525 is still, after 25 years—"the sound". Two or more 525s can be linked for multi-channel compression.
The 525 Feedback Compressor/Limiter makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products. Features
Reissue of API's original 525 from the early 70's
Peak detecting "feedback" compressor/limiter
Variable Threshold and Output levels
Unique "Ceiling" control combines key functions
VU meter for monitoring gain reduction
4 Switchable release modes
De-Ess function
Traditional API fully discrete circuit design
Hardwire bypass
Originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
The API 550 discrete 4-band EQ played a major part in the history of music recording in the USA during the 60's and 70's. Originally conceived for use in API's consoles, this latest 550 "B" version is a continuation of the original 1967 550 through the 550A with one additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 op-amp), the 550B artfully blends the past with the present. So many hit records still depend on the unique 550 sound, that the 550B will be an invaluable tool you will turn to again and again. The API 550B—unlike any other you will ever use.
Many EQs today offer a huge assortment of complex features, but the API 550B provides exactly the right number of controls to the professional engineer. Deceptively simple at first glance, the 550B's four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device. Each band offers 7 switchable filter frequencies spanning 4 to 5 octaves, selected through experience by a "who's who" list of the industry's most proficient engineers. This re-issue design has been taken from the original blueprints and spec control drawings from the API archives.
Making use of "API Proportional-Q", a design introduced by API in the 60's, the 550B intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings—without the need for additional bandwidth controls. This feature minimizes the "phase-shift" sound found in many equalizers. The reciprocal nature of the 550B enables the user to "undo" what has been done previously.
The benefits of the API 550B are most obvious to those who work with EQ on a continuous basis. The 550B's ability to affect or reverse tonal modifications is perhaps the most important feature. If major tonal restructuring is required, the extraordinary headroom made possible with API's 2520 op-amp offers predictable and gentle "analog" performance under duress. With a surprisingly wide range of tonal variations, you can do no better than the API 550B.
Features
4 bands of famous-sounding equalization
Each band offers 7 API-selected frequency centers
Reciprocal and repeatable filtering
12 dB of boost/cut per band
EQ bands 1 and 4 offer shelf/peak switching
"Proportional Q" narrows filter Q at extremes
Traditional API fully discrete circuit design
High headroom: +30 dB clip level
Re-issue of 1967 API 550 EQ with an extra band
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
Few equalizers enjoy the respect and admiration of the coveted API 550A .
Designed by the now-legendary Saul Walker in the late '60s, the
discrete 550A was first used as a modular OEM equalizer. As the industry
rapidly embraced the sonic quality of the 550A, it quickly found its
way into many custom console designs by Frank DeMedio and other leading
engineers. Many of these consoles are still in use today.
Forty years later, the 550A remains the standard against which other EQs
are measured, and it has played a major role in the recording industry
for decades. Still copied but never duplicated, the 550A became API's
standard channel module EQ when the company began manufacturing consoles
in 1971. With virtually all existing units spoken for, popular demand
for this EQ resulted in API finally resuming production in 2004.
The 550A provides reciprocal equalization at 21 points in 7 steps of
boost to a maximum of 12dB of gain at each point. The fifteen
equalization points are divided into three overlapping ranges. The high
and low frequency ranges are individually selectable as either peaking
or shelving, and a band-pass filter may be inserted independently of all
other selected equalization settings. Frequency ranges and boost/cut
are selected by three dual-concentric switches, and a pushbutton "in"
switch allows the EQ to be silently introduced to the signal path. A
small toggle switch is used to insert the band-pass filter into the
550A.
The combination of Walker's incomparable 2520 op amp and his
"Proportional Q" circuitry gives the 550A user an uncomplicated way to
generate acoustically superior equalization.
With the long-awaited reissue of this unit, an EQ that has had such a
part in the history of recording is continuing to make history in
today's music.
Features
3 bands of classic API equalization Each band offers 7 API selected frequency centers Reciprocal and repeatable filtering Maximum 12 dB of boost/cut per band EQ Band 1 and 3 offer shelf/peak switching "Proportional Q" narrows filter Q at extremes Traditional API fully discrete circuit design High headroom +30 dB clip level
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
The API 560 was originally conceived for use in API consoles of the 60's and 70's. The API 560 re-issue is a unique device designed to accomplish tasks that no other EQ can do. It delivers that "one-of-a-kind" API sound, precision easy-set filtering and high headroom in a very small package. Extremely fast to set and reset using accurate zero detents, the curve-shaping potential of the 560 is unmatched. At home both in field recording and the studio environment, this "new-old" version is a re-issue of the original 560 with improved resolution in the critical area of ±4 dB. Incorporating API's exclusive circuitry and proprietary components (such as the legendary 2520 op-amp), the re-issue of the 560 artfully blends the past with present—layout with function.
The API 560 was created to fit all applications for the professional engineer. For most of the 70's and 80's, every remote recording console that API manufactured used this versatile graphic EQ. It is also ideal for studio and live sound applications, where a professional result is required. This re-issue design has been taken from the original blueprints and spec control drawings from the API archives.
The large number of available EQ bands makes the 560 an ideal companion to parametric EQ, as well as ideal for signal sweetening and room tuning. Not lacking in features, the 560 makes use of API's unique "Proportional Q" design introduced by API in the 60's, intuitively widening the filter bandwidth at lower boost/cut levels and narrowing it at higher settings. In addition, boost and cut characteristics are identical, so previous actions can be undone.
The extraordinary headroom made possible with API's proprietary 2520 op-amp offers predictable and wonderful "analog" performance under duress. With a wider range of 500-series mounting options, the 560 will be a valuable asset to your performance-critical applications.
The 560 Graphic Equalizer makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.
Features
10 bands of API proprietary equalization
Familiar graphics operation on one-octave centers
12 dB of boost/cut per band
"Proportional Q" narrows filter Q at extremes
Additional resolution within the ±4 region
Center detent for reliable reset
Traditional API fully discrete circuit design
Silent bypass switch
Re-issue of the 1969 API 560 EQ
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
The lineage of the API 5500 circuit can be traced back to the original 550 equalizer designed by Saul Walker, the founder of Automated Processes Inc. The 550 was designed as a console equalizer which, due to the architecture of the recording console, uses an unbalanced input. Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited. The 5500 is specifically designed to address these limitations. It has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting, and a range control that expands it versatility to mastering applications.Features: Classic 550B Equalizer Design 2 Range Switches Individually Alter Gain Steps Useable as a 550B, 550D or 550M Peak/Shelf Switch on HI & Lo bands True Hardwire Bypass Balanced IN and OUT on XLR Unbalanced Input on 1/4" EQ In/Out Switch Like all API products, the 5500 contains no integrated circuits in its signal path. The gain comes from two hand-built 2520 operational amplifiers in each channel. The balanced input is handled by a 2510 discrete operational amplifier, which is similar to the 2520, but without the high current output stage. Besides being a key component of the API sound, the 2520 coupled with the API 2503 output transformer is capable of delivering +30dBm before clipping. With this much headroom, it is unlikely that the 5500 can be driven to distortion unless perhaps another API unit is driving the input! A new feature in the 5500 is the range control. The range of the amplitude controls can be reduced to 1/2 or 1/4 of their stated scale, providing a means of adjusting the tonal balance with finer resolution in an even gentler manner. This should be especially useful for complex program material as contained in stems or submixes, and is ideally suited for mastering purposes. Also new on the 5500 is a true hard-wire bypass. In this mode the output connector is wired directly to the input. Shortly after the power is first applied, or immediately after it is lost, a special circuit enables bypass mode so signal is never lost and power thumps are never heard. The input XLR is connected to an active balanced circuit. The output XLR is driven from a transformer coupled output and can drive any load from 600 ohms or greater to full output capability. The polarity is such that there is no change from input to output, so it is suitable in studios using either pin 2 or pin 3 as the "hot" connection. In addition, there is a 1/4 inch input connector that interrupts any signal that is present on the input XLR. It is balanced and can be driven from either balanced or unbalanced sources. A positive signal on the tip will deliver a positive signal on pin 2 of the output XLR. Using the 1/4 inch input does not bypass any internal circuitry and does not change gain or operating level.2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
The API 2500 is a versatile stereo bus compressor that allows adjustment of sonic qualities that can alter the punch and tone of the stereo mix. The 19" rack mountable unit features ATI's patented "thrust" circuit for a chest-hitting, punchy bottom end. With its dual channel design, the API 2500 is set up for stereo compression, but can also be used as two separate units via a single compression setting. The 2500 boasts a range of parameters that make it incredibly musical.
API pushes the envelope of flexibility further with selectable "old" or "new" compression. The old style uses the feedback type of compression found in the API 525, 1176 and Fairchild. The new style uses a feed forward type, similar to other popular compressors.
The output stage features API's auto-makeup gain button, permitting the user to vary the threshold or ratio while automatically maintaining a constant output level. Fidelity is ensured with an all-discrete, fully balanced design, and two front panel VU meters show input, output, and gain reduction levels.
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
Both the API 3124MB+ and the 3124+ are designed with the professional engineer in mind, giving the highest possible quality 4 channel mic preamp and with the 3124MB+, an audio mixer, while keeping the size and price at a reasonable level. Several 3124MB+ mixers can be linked to increase the number of bussed channels. Both models are equally at home in the control room, the studio, and news or recording truck, at the house console, on the stage, direct-to-DAT, or at the artist's disposal for the source of his music.
The model 3124+ utilizes the same microphone preamp circuit that is used in all API consoles. It uses the RE-115 K mic input transformer and the same output transformer that is used in all API equalizers. All four mic inputs of the 3124+ and the 3124M+ are powered by an internal 48 volt phantom power supply, front panel switchable for each channel. Also provided is a front panel 20 dB pad switch that effects both the Mic and Line in.
The model 3124+ can provide up to 65 dB of gain to an output clip level of +30 dBm. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can take input levels as high as +22, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.
The model 3124MB+ is a 3124+ with the addition of a complete stereo mixer. In conjunction with the gain control of the 3124+, the 3124M+ adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique aux return pot acts like a panner to balance the left/right signal, yet staying stereo. It can also be used as a mono return. A standard 3124+ can be further expanded to an "m" at the factory. Several options for the "M" include a discrete unbalanced stereo output or a discrete balanced stereo output.
Features
Uses API 2520 Op-Amp
Classic Console Circuit
Four XLR Mic Inputs
Four 1/4" Un-Balanced Inputs
Front Panel Polarity Switch
Front Panel 20 dB PadSwitch
Front Panel Mic/Line Switch
Front Panel 48V Power Switch
Output Clips at +30 dBm
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
API 3124MB+
Discrete 4 Channel Mic/Line Pre with Stereo Mixer plus Transformer Balanced Outputs
... Learn more
Both the API 3124+ and the 3124M+ are designed with the professional engineer in mind, giving the highest possible quality 4 channel mic preamp and with the 3124M+, an audio mixer, while keeping the size and price at a reasonable level. Several 3124M+ mixers can be linked to increase the number of bussed channels. Both models are equally at home in the control room, the studio, and news or recording truck, at the house console, on the stage, direct-to-DAT, or at the artist's disposal for the source of his music.
The model 3124+ utilizes the same microphone preamp circuit that is used in all API consoles. It uses the RE-115 K mic input transformer and the same output transformer that is used in all API equalizers. All four mic inputs of the 3124+ and the 3124M+ are powered by an internal 48 volt phantom power supply, front panel switchable for each channel. Also provided is a front panel 20 dB pad switch that effects both the Mic and Line in.
The model 3124+ can provide up to 65 dB of gain to an output clip level of +30 dBm. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can take input levels as high as +22, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.
The model 3124M+ is a 3124+ with the addition of a complete stereo mixer. In conjunction with the gain control of the 3124+, the 3124M+ adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique aux return pot acts like a panner to balance the left/right signal, yet staying stereo. It can also be used as a mono return. A standard 3124+ can be further expanded to an "m" at the factory. Several options for the "M" include a discrete unbalanced stereo output or a discrete balanced stereo output.
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
Building on API's rich heritage of extremely high quality recording consoles, we introduce the Model 1608 , a full featured small format recording console based on the vintage API 1604 console, which has held its demand and value for over three decades. The API 1608 gives all of the advantages of the 1604 Vintage Consoles while adding new, modern features valuable to today's Engineers, Producers and Musicians. The 1608 is built to the same exacting API build standards as our Vision consoles, Legacy consoles, and modular products. Details: Headroom is +28dBU 16 channels mic/line 500 series slot per channel (8 spare, can be normalled to FX return or patchable) 16x 312 vintage style mic pre’s (as in 3124+) 4x 560 graphic and 12x 550a included (can be ordered short loaded or available as frame with no eq) 24 line return at stereo mix Access to stereo line in at mix Discrete classic 2520 opamp design Legacy type logic throughout 8 buss 8 aux 8 FX return 5.1 monitoring 3 position speaker selector(dim, dim volume, mute, mono) Inserts on all input channels and mix buss Direct line inputs per channel like 512/3124+ API Vision automation is optional and ships spring 08’ 16 channel expander (up to 32 channel total, links via Elco multipin) Can order as empty frame or partially loaded with any combo of 500 series modules (call or email for custom quote) Dimensions: 38” wide x 34” deep x 18” high at meters Built like a tank 2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item. Question 1: "Can you describe what’s balanced, what’s unbalanced, and what has transformers?" Answer: Line in: active balanced discrete API 2520 amplifier Pre-amp out transformer balanced EQ in is EQ dependant (the 1608 motherboards are setup to accept a 2510 balancing amp card which is NOT stock, as you would only want them if your eq is unbalanced in): 560 is balanced, 550a is unbalanced, 550b is unbalanced. EQ out: transformer balanced Insert return: active balanced discrete API 2510 amplifier Direct out: transformer balanced Multi Bus Outs: transformer balanced Multi Bus to PGM Bus assign: Passive resistor balanced assign PGM summing amp outs: transformer balanced PGM Insert returns: active balanced discrete API 2510 amplifier PGM Outs: Transformer balanced Echo Sends: transformer balanced Echo Returns: active balanced discrete API 2510 amplifier CR outs: Transformer balanced Oscillator out: active balanced output Question 2: "Has the summing design changed? If so, why?" Answer: The old 1604/2488 summing buses were not balanced, and therefore much noisier than the New 1608, so it's not the same as the old consoles, it's tons better (it's certainly not cheaper, it's more expensive, but it's the right thing to do...). The 1608 uses discrete 2520's and transformers for the summing amplifiers, just like all the old API's do, but with balanced summing buses. The standard fit of a 1608 Console is: (16) 548B Inputs with Mic/Line and Direct Output (12) 550A Equalizers (4) 560 Equalizers (8) Echo Returns (1) Complete Center Facilities Section (16) Manual Faders (1) Stereo Fader Pricing and Options 1608 Fully Fitted - $49,900 1608 Unloaded (no eq's) - $35,000 1608 16 Channel Expander - $39,900 1608 16 Channel Expander unloaded (no eq's) - $25,000 Future Moving Fader Automation TBA Equalizer Delete per Channel - 550A, $1,016. 560, $676 Call/email for custom eq configuration pricing
Call for details and we can help provide the best solution for your needs!
Features:
16 Main Busses
6 Auxes (1 stereo)
2 Stereo Busses
All Input or Split
From 16-96 Channels
API 205L Features
Wide range GAIN control
Hi-Z input, like a Tube Amp
Thin < > Fat TONE Control reduces low end mud
BRIGHT Switch boosts the presence
20 dB PAD lowers the input level
100 K LOAD switch changes the tone of instruments
5 Segment LED Meter shows Output Level
Transformer Coupled Output to +28 dBm
All Discrete Design
The new API 205L Instrument Direct is specifically designed to accept a guitar or bass direct into it, without any loading on the pickups. With the use of the unique TONE control, the low end "mud" can be reduced. Turning on the BRIGHT switch adds clarity, like the bright switch on any amp. The combination of these two functions may eliminate the need for any EQ on the instrument when recording, keeping the signal pure.
The input is designed specifically to load a pickup the same way that a tube guitar amp would, retaining all of the tone, and minimizing the loading effect on the pickup. This minimal path eliminates the need to use a standard direct box, which more times than not, only converts the signal to a balanced mic level output, which still requires a mic input, equalizer, and fader to get the signal to a recordable level.
The 205L is capable of boosting any instrument to a hefty line level without additional amplifiers. With the 100 K LOAD switch, the tone of the pickup can be altered slightly, which tends to darken the high frequency content. The BRIGHT switch adds a treble boost in the same manner that most instrument amplifiers do, clarifying the instrument and adding presence to it without the need for outboard equalization. When inserting an instrument with an internal preamp or a line level instrument such as a sampler or a keyboard, the 205L has a 20 dB PAD switch to drop the level without loading, retaining the full range of the 205L and its features.
When used with other 200L series modules, a complete input strip can be built from input through dynamics, equalization, and final output. With the addition of the 201L fader module, the output level of the 205L can be adjusted so it is compatible with the input of any guitar amp. The artist can then be in the control room while the instrument amp is isolated in the studio.
The 205L Direct makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity characteristic of API products.
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Features
Wide range GAIN control
20 dB Pad
48v Phantom Power Switch
RE 115 K Mic input Transformer
LED VU Meter
Uses API 2520 Op-Amp
All Discrete Circuit
Transformer Coupled Inputs & Outputs to +28 dBu
The tone of the 212L mic preamp finds its roots in the classic API 2488 series all discrete recording consoles, best known for the famed "LA" sound. This same mic preamp design is packaged into a compact module with features like a continuously adjustable Gain control and a unique 5 segment LED VU meter on each panel.
An audio chain is only as strong as its weakest link. Often, emphasis is placed on obtaining the highest quality microphones, while neglecting the integrity of the mic preamp. The API 212L microphone pre-amplifier is an integral part of the famous Legacy Series Console and is now available for the L200 Rack System. This modular unit incorporates the same circuit as the legendary API 512b, thus preserving its sonic qualities. This mic-pre articulates high frequencies with great detail, while delivering the big sounding, warm bottom end that API is famous for. Whether it's a live performance or the private setting of a studio session, the 212L will capture every nuance of the moment.
The 212L mic-pre all discrete circuitry features the API 2520 op-amp, the RE 115 K input and the AP-2623 output transformer. A -20 dB pad is provided, allowing the level feeding the mic transformer to be reduced by 20 dB, while keeping the proper load on both the mic and transformer. 48V Phantom power can be locally switched on or off via the front panel switch. An LED VU meter provides a true VU indication of the mic pre output level. The low noise floor, together with a clip point over +28 dBm, makes this preamp suitable for the most extreme applications requiring the highest quality audio.
The 212L Microphone Preamplifier makes use of the 2520 op-amp and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.
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The API 215L is a unique passive, sweepable filter, designed specifically to contour the sound in such a way that it sounds natural and seems as if it "always sounded that way". Its extreme flexibility, repeatable settings and superb sound make it ideal for all studio, live sound and broadcast applications.
The 215L design is a passive low pass filter with a slope of only 6 dB per octave, and a passive dual hgh pass filter with a slope of 12 dB per octave. The filters are isolated from each other with the same discrete transistor buffer used in the famous 550 series equalizers. This minimizes interaction between the filters, as well as providing a low impedance source for the filter following the buffer.
The input section is a balanced circuit using the API 2510 all discrete op-amp, minimizing the loading effect on any device plugged into it. The output stage is a transformer balanced output, driven by the all discrete API 2520 op-amp.
The filters are both continuously adjustable, with a range from 20 Hz to 20 kHz in two bands. The low pass filter has a range from 500 Hz to 20 kHz, and the high pass filter has a range from 20 Hz to 600 Hz. This covers a broad range of frequencies throughout the eintire audio spectrum.
Because of the subtle nature of the 215L filter, it finds a home with uses like rolling off the low end of a hi-hat, where a natural sound is desired, not the usual "phase-shifter" sound of a 18 to 24 dB per octave filter found on most consoles. It can also be used to thin out room mics, without a complete loss of low end, again, resulting from steep filter circuits.
The 215L can be used in the Legacy Series Consoles or in the L200 Rack. The 215L Filter makes use of the 2520 and 2510 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.
Features
Wide range 6 dB per octave LOPASS control
Wide range 12 dB per octave HIPASS control
Balanced input stage
Passive filter design for smooth tone
Unity gain throughout
Hard Wire BYPASS switch
Transformer Coupled Output to +28 dBu
All Discrete Design
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API 215L
Discrete high and low-pass sweep filters in the compact API 200 Series format
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API 225L Features:
Threshold control from -20 to +10 dBu
Variable compression ratio from 0 to infinity
Adjustable release time from 50m/sec to 3 sec
"Old" or "New" sound
HARD or SOFT compression knee
Always at unity gain, regardless of settings
LED Gain Reduction meter
API 2510 and API 2520 op-amps
Transformer output to +28 dBu
The API 225L Compressor is ideal for all studio, live sound and broadcast applications. Regardless of the threshold or ratio settings, the output level always remains at unity. This unique feature allows real-time adjustments without changing the output level. Both "feed forward" (new) and "feed back" (old) gain reduction methods are selectable on the front panel. There also is a SOFT or HARD selector for either an "over easy" compression resulting in a very natural, uncompressed sound or a typical sharp knee type that has a much more severe limiting effect. The 225L is designed for individual channel use or two units can be combined for Stereo applications via a rear access pin. The 225L also has a side chain input for the detector amplifier.
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API 225L
Discrete single-channel compressor in the compact API 200 Series format
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Features
Threshold control from -45 to +25 dBu
Variable Fine Adjustable Depth to -80 dB
Adjustable Release/Hold Time, 50m/sec to 3 sec
2:1 Expander or Noise Gate Selection
Release or Hold Switch for Release control knob
Always at Unity Gain, Regardless of settings
LED Gain Reduction Meter
Uses the API 2510 and API 2520 Op-Amps
Transformer Output, to +28 dBu
The API 235L Noise Gate/Expander is a new product design, as API has not offered a gate module since 1974. The 235L is a great sounding gate/expander with the ability to reduce noise in any type of program. The 235L can open unusually fast, without losing any part of the sound. Its extreme flexibility, repeatable settings, and superb sound make it ideal for all studio, live sound, and broadcast applications.
The API 235L Noise Gate/Expander is one of the fastest noise gates manufactured today. When an engineer is faced with program material with a high level of background noise, the 235L can either Gate the signal at a preset Threshold, or with the use of the Expander function, can reduce the background noise to an almost undetectable level. This can be achieved wiithout the typical loss of the program material caused by slow triggering of the signal, or "pinging" caused by false triggering.
With a wide range of adjustment, the 235L can operate from -45 to +25 dBu, fitting into any audio situation regardless of program level. Once the Threshold level is set, the Attack time can be selected to react faster than 100 micro seconds or slightly slower than 25 milli-seconds to reduce false triggering. Although the Depth control has a full range of -80 dB, the scale is expanded in the first half of rotation so 0 to 9 dB is available for fine tuning of subtle, undetectable gating. The second half of rotation is from 10 to 80 dB for more drastic noise reduction.
The Expander function is a 1:2 ratio, allowing the signal to "sneak up" to the full signal level without any loss of "under threshold" nuances of vocals and percussion. Setting the threshold in the Gate function to the desired level, then switching to the Expander mode is the perfect setup.
For special gating functions such as the famed "gated snare reverb", the Release function can be switched to Hold, and the Release control becomes the Hold time. In both functions, the unselected one has a set time of 100 m/sec.
When used with the other 200L series modules, a complete input strip can be built from input through dynamics, equalization, and final output.
The 235L makes use of the 2510 and 2520 op-amps and therefore exhibits the
reliability, long life, and uniformity which are characteristic of API products.
2 Year Warranty (labor) 5 Year Warranty (parts)
We double the standard API one year warranty (parts and labor) on this item.
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