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Results 1-10 of 31

500 Series Equalizers

The classic all-tube Pultec EQP-1A goes down on the record books as one of the most venerated equalizers of all time, cherished by recording and mastering engineers for its almost mythical ability to improve the sound of just about anything running through it. Finally, after much research and development, A-Designs Audio announces that it has managed to capture much of the essence of the famed EQ in a new product – and one that fits in a compact 500-series module frame size, no less!
 
Dubbed the EM-PEQ, A-Designs Audio was able to ‘shrink’ this highly sought after filter design into the now red-hot 500-series format without compromise to either build quality or sonics. The EQ section design and control layout of the classic EQP-1A has been meticulously maintained, as well as its wonderfully smooth musicality.
 
Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s popular solid-state Pacifica mic pre, putting a slightly unique twist on the classic design of yesteryear.
 
Additional features include a nickel core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard bypass. Instead of using common off-the-shelf chokes, A-Designs uses a custom-wound tapped inductor wound to the original values. Fully balanced, noise-free operation with modern impedance specs make for dummy-proof operation and fast studio integration.
 
The new EM-PEQ is an approved API™ ‘VPR Alliance’ product and may also be used in Brent Averill Enterprises racks and A-Designs Audio’s R52, manufactured by Avedis Audio Electronics.
 
Check out these Quicktime Movies to SEE and HEAR A Designs in action! 
Right click to save

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

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

A Designs Audio EM-PEQ
500 Series EQ with a nod to the classic Pultec EQP-1A

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The AML ez1073-500 is a Class A, mic pre-amp, line amp and EQ/Filter module which occupies two slots in a 500 series rack. Fully populated with Carnhill transformers and inductors to achieve its distinctive classic sound, this high-end hand-built British module provides an affordable solution for the modern cost conscious studio. Features: <ul><li>Classic 3 stage (Class A) amplifier design</li><li>All discrete component (no surface mount devices)</li><li>Entirely hand assembled and tested in the England to exacting quality standards</li><li>Mic Input: Carnhill transformer balanced (Classic VTB9045) +10dB to +65dB gain, rotary switchable in 5dB steps and switchable 300/1200 Ohm impedance input</li><li>Line Input: Carnhill transformer balanced (Classic VTB9046) - 20dB to +20dB, rotary switchable in 4dB steps (centre 0dB), 10k Input Impedance</li><li>Line Output: Carnhill transformer balanced (Classic full size output transformer)</li><li>EQ/Filter Stage: 3 inductor (Class A) amplifier design</li><li>HF (12kHz) +/- 16dB gain continuously variable </li><li>MF (switchable; 360Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz & 7.2kHz) +/- 16dB gain continuously variable </li><li>LF (switchable; 35Hz, 60Hz, 110Hz & 220Hz) +/- 16dB gain continuously variable </li><li>Low Pass Filter (switchable; 50Hz, 80Hz, 160Hz & 300Hz) -18dB per Octave</li><li>Phantom and polarity switches </li><li>The XLR behind the left hand side is the Mic Input</li><li>The XLR behind the right hand side is the Line Input</li><li>The output is duplicated on both of the output XLRs</li><li>Stainless steel chassis</li><li>Total current consumption 110mA (per unit)</li><li>For use in API (and compatible) Lunchbox and VPR500 racking systems</li></ul>

AML ez1073-500
Class A 500 Series mic pre/EQ

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Few equalizers enjoy the respect and admiration of the coveted API 550A.
 Designed by the now-legendary Saul Walker in the late '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 
<ul><li>3 bands of classic API equalization</li><li>Each band offers 7 API selected frequency centers</li><li>Reciprocal and repeatable filtering</li><li>Maximum 12 dB of boost/cut per band</li><li>EQ Band 1 and 3 offer shelf/peak switching</li><li>"Proportional Q" narrows filter Q at extremes</li><li>Traditional API fully discrete circuit design</li><li>High headroom +30 dB clip level </li></ul>
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 550A
Discrete, classic three-band EQ

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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 
<ul><li>3 bands of classic API equalization 
</li><li>Each band offers 5 API selected frequency centers 
</li><li>Reciprocal and repeatable filtering 
</li><li>Maximum 12 dB of boost/cut per band 
</li><li>EQ bands 1 and 3 offer shelf/peak switching 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Traditional API fully discrete circuit design 
</li><li>High headroom: +30 dB clip level </li></ul>
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 550A SW - Saul Walker Edition
Discrete, classic three-band EQ

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The API 550 discrete 4-band EQ played a major part in the history of music recording in the USA during the 60's and 70's. Originally conceived for use in API's consoles, this latest 550 "B" version is a continuation of the original 1967 550 through the 550A with one additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 op-amp), the 550B artfully blends the past with the present. So many hit records still depend on the unique 550 sound, that the 550B will be an invaluable tool you will turn to again and again. The API 550B—unlike any other you will ever use. 
Many 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 
<ul>
<li>4 bands of famous-sounding equalization 
</li><li>Each band offers 7 API-selected frequency centers 
</li><li>Reciprocal and repeatable filtering 
</li><li>12 dB of boost/cut per band 
</li><li>EQ bands 1 and 4 offer shelf/peak switching 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Traditional API fully discrete circuit design 
</li><li>High headroom: +30 dB clip level 
</li><li>Re-issue of 1967 API 550 EQ with an extra band</li></ul>
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 550B
Discrete four-band EQ

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

The API 560 was created to fit all 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 
<ul>
<li>10 bands of API proprietary equalization 
</li><li>Familiar graphics operation on one-octave centers 
</li><li>12 dB of boost/cut per band 
</li><li>"Proportional Q" narrows filter Q at extremes 
</li><li>Additional resolution within the ±4 region 
</li><li>Center detent for reliable reset 
</li><li>Traditional API fully discrete circuit design 
</li><li>Silent bypass switch 
</li><li>Re-issue of the 1969 API 560 EQ</li></ul>
2 Year Warranty (labor) 5 Year Warranty (parts) 
We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 560
Classic 10-band graphic EQ

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Before modern semiconductor technology, audio filters and equalizers were made with passive components - capacitors and wound coils of wire that formed inductors (or chokes). Audio frequency chokes were bulky and expensive so these days it's easier (and cheaper) to use an electronic circuit to simulate the inductors. However, we have discovered that the difference in sound between the real thing and a simulator is quite noticable. So with the tonic equalizer we have brought you the best of both worlds, utilizing both real chokes and electronic filters in perfect harmony. 
 
The Buzz Audio Tonic offers 3 bands of equalisation with a versatile sweep midrange section and fixed two frequency high and low bands. The tonic also has a high pass filter utilizing another real choke. The signal path of the tonic is all True Class A discrete transistor with the output balanced via a Lundahl* LL1517 high spec transformer. The tonic is designed to fit into the popular API* 500 Series modular racks and requires a rack to function.
 
The Tonic high band is switchable bell or shelf and features two frequency settings of 5kHz and 11kHz. The low band is also switchable bell or shelf with two frequency setting at 120Hz and 60Hz with both bands providing +/- 15dB of boost and cut. Thanks to the use of passive choke based filters, users can expect a very tight sounding bottom end and sparkly clear highs when applying boost with these two bands.
 
The sweep "bell" midrange extends from 75Hz to 1500Hz (x1 mode) or 750Hz to 15000Hz (x10 mode). The midrange "Q" or bandwidth can be selected tight(ish) or broad and utilizes the Constant Amplitude Phase Shift (CAPS) filter circuit developed by Mr Steve Dove. +/-15dB of midrange boost and cut is available.
 
The Tonic 18dB/oct high pass filter is completely passive with two turn over frequencies (50Hz or 90Hz) selected by the user via jumpers on the circuit board. Completing the picture is the "OL" LED which illuminates when levels exceed +20dBu and the "BYP" switch which completely removes the tonic from the signal path.
 
Rack Compatibility 
The Tonic uses 1 rack space and draws 120mA +/- 15-18 volts DC, as supplied by frame power supply. Power consumption is higher than most other 500 series modules and this may stress some rack power supplies depending on what other modules are fitted. Please check the following list to see if it will work OK in your rack.

API Lunchbox 6B - recommend only two tonic modules are fitted along with other modules. 
API 500VPR with L200PS - no problems.
Atlas Pro Audio Revolver - no problems. 
OSA Power Rack and Track Pack - no problems if you have the 3A external power supply. 
B.A.E. 6 & 11 Slot Racks - not tested, check with B.A.E. for power capacity.
 
Features:<UL>
 <LI>
 API* 500VPR Series rack module format - plug in and play!
 <LI>Real choke based EQ offering superior sonics.
 <LI>
 Advanced analogue technology - not a clone or copy of products from the past.
 <LI>
 Fully discrete hi-bias wide bandwidth differential Class A amplifiers.
 <LI> High performance Lundahl* output transformer.

Buzz Audio Tonic
500 Series Compatible True Class A 3 Band Equalizer

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Buzz Audio Tonic (Demo Deal)
500 Series Compatible True Class A 3 Band Equalizer

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Following in the rich tradition of English 60s and 70s console design, Chandler Limited enters the 
500 race furiously with its new Little Devil Equalizers and Compressors. 
 
With all discrete circuits, transformer balanced everything, and the American hand made quality 
you expect from Chandler the Devils combine 
Chandler’s best designs with the hottest designs from the past.
 
Chandler Little Devil Equalizer Features:
<ul>

<li>All controls are marked +/- 1 to 6 
in the playful DEVIL spirit of the 
concept.

</li><li>Treble and bass shelf +/-18db. Treble is set to 12k while Bass 
is selectable 50 and 110hz.

</li><li>HI and LO Mid +/-18db with hi
and lo Q switching. Inductor based
english style with 7 selections per band.
<LI>Hi Mid - 8k2, 6k8, 5k6, 4k7, 3k3, 2k7, 1k2
<LI>Lo Mid - 820, 560, 470, 390, 330, 270, 220

</li><li>Three position filter. 47, 82, and 
150hz.

</li><li>Hardwire bypass.</li>

</ul>
Note: This unit is not VPR compliant and may not work with every 500 Series rack

Chandler Limited Little Devil Equalizer
500 Series equalizer

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<li>All controls are marked +/- 1 to 6 
in the playful DEVIL spirit of the 
concept.

</li><li>Treble and bass shelf +/-18db. Treble is set to 12k while Bass 
is selectable 50 and 110hz.

</li><li>Three position filter. 47, 82, and 
150hz.

</li><li>Hardwire bypass.</li>

</ul>
Note: This unit is not VPR compliant and may not work with every 500 Series rack

Chandler Limited Little Devil Equalizer (Demo Deal)
500 Series Equalizer

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