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.
2 Year Warranty (labor) 5 Year Warranty (parts) We double the standard API one year warranty (parts and labor) on this item.
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
The A2D analog section consists of the circuitry contained in two API 312 mic preamps, or one half of the popular 3124 quad mic preamp rack product. A level control pot with an expanded 20-segment metering system shows precise mic gain levels. Control switches include polarity, 48v phantom power, input pad, 2:1 transformer routing, and Mic/Line select. Each analog input contains a balanced low-level XLR connector and a high-level line input on a 1/4 inch jack.
The Digital section of the A2D includes two level pots to adjust the feed to the A/D converters, each with a corresponding 20-segment calibrated meter. A multi-position switch selects the desired sample frequency. The External Sync LED will light when an external clock signal is used.
Rear panel Analog connectors include an XLR input and output for each channel, as well as a balanced 1/4" TRS insert to the A/D converter. This allows the A2D to have external analog processing devices inserted in the audio chain (EQ, compression, etc.)
Digital interface connectors provided are SPDIF single ended RCA connector and AES digital out on XLR. A coaxial BNC accepts external "Super Clock" which will illuminate the front panel EXT SYNC LED when locked.
In addition, there are a pair of 9-pin D-sub connectors which allow the linking of multiple A2D units, all operating off the first sample-rate clock in the chain.
The design uses an 8 transistor discrete Class A front end with extended band-width and a noise floor close to the theoretical Johnson limit. Carefully chosen close tolerance components are used to achieve high CMRR at all gain settings and distortion is minimised to less than 0.001% at 20dB gain and +10dBu output. This outstanding technical performance delivers a mic amp with incredible transparency and detail without colouration or other unwanted artefacts.
Each Mic amp also features switchable input impedance, allowing the user to explore the subtle variations in microphone character that are determined by output termination.
All channels include an XLR input, ?soft start? 48V phantom power, switchable input impedance, 25-250Hz hi-pass filter as well as line input selection. Channels 1 and 2 also feature a -20dB attenuator and a high-impedance Instrument/DI input on a front panel mounted jack. LEDs provide indication of signal present and overload.
Two digital output option cards are available - one with ADAT optical interface, the other with AES/EBU and ADAT.
After building the 1272 for many years, we were constantly asked to rack the units in an enclosed chassis. When we finally came around to it, we opened up the possibility of adding certain features like a phase button etc. After that we then tweaked the circuit to make the gain more like a 1073. As this was perfected, we saw the unit become far removed from a 1272 and more like a 1073 minus eq. Hence BAE (formerly Brent Averill Enterprises) 1073MP (mic pre).
Features:
The 1073MP preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smoothes the top end, giving the highs a silky sheen. The BAE 1073 slightly compresses transients, as well. It is a smooth, fat, larger than life sound. An added bonus is to use the front-panel DI inputs to fatten samples and synths and instruments. Balanced line-level inputs on the rear allow for fattening and punching up entire mixes, or in a signal chain with other +4 gear.Set the gain knob (red Marconi) around 20 on the dial and set the output (gray knob) fully clockwise. This gives you the highest headroom and cleanest signal path. Every click is in 5db increments so if one click is too hot, attenuate the output to get in between the 5db steps.Another trick people like to do is to put the final mix through the direct inputs on the front to get that harmonic distortion. To get even more of that Class A output stage is to come out of channel 1 and into channel 2 then you have an accumulative effect of that classic output stage. * Neve is a trademark or registered trademark of AMS-Neve LTD and BAE is not affiliated with such entity.
The 1073MP preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smoothes the top end, giving the highs a silky sheen. The BAE 1073 slightly compresses transients, as well. It is a smooth, fat, larger than life sound. An added bonus is to use the front-panel DI inputs to fatten samples and synths and instruments. Balanced line-level inputs on the rear allow for fattening and punching up entire mixes, or in a signal chain with other +4 gear. Set the gain knob (red Marconi) around 20 on the dial and set the output (gray knob) fully clockwise. This gives you the highest headroom and cleanest signal path. Every click is in 5db increments so if one click is too hot, attenuate the output to get in between the 5db steps.Another trick people like to do is to put the final mix through the direct inputs on the front to get that harmonic distortion. To get even more of that Class A output stage is to come out of channel 1 and into channel 2 then you have an accumulative effect of that classic output stage. * Neve is a trademark or registered trademark of AMS-Neve LTD and BAE is not affiliated with such entity.
After building the 1272 for many years, we were constantly asked to rack the units in an enclosed chassis. When we finally came around to it, we opened up the possibility of adding certain features like a phase button etc. After that we then tweaked the circuit to make the gain more like a 1073. As this was perfected, we saw the unit become far removed from a 1272 and more like a 1073 minus eq. Hence the BAE (formerly Brent Averill Enterprises) 1073MP mic pre.
The BAE (formerly Brent Averill Enterprises) 1073MPF is basically a deluxe 1073MP. lt has all the same qualities as the 1073MP with one added feature, a high pass filter. We integrated the same inductor based high pass filter that's in the 1073 and added it here to the 1073MPF.
The 1073MPF preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smoothes the top end, giving the highs a silky sheen. The BAE 1073 slightly compresses transients, as well. It is a smooth, fat, larger than life sound. An added bonus is to use the front-panel DI inputs to fatten samples and synths and instruments. Balanced line-level inputs on the rear allow for fattening and punching up entire mixes, or in a signal chain with other +4 gear.Set the gain knob (red Marconi) around 20 on the dial and set the output (grey knob) fully clockwise. This gives you the highest headroom and cleanest signal path. Every click is in 5db increments so if one click is too hot, attenuate the output to get inbetween the 5db steps.Another trick people like to do is to put the final mix through the balanced line inputs on the back to get that harmonic distortion. To get even more of that Class A output stage is to come out of channel 1 and into channel 2 then you have an accumulative effect of that classic output stage. * Neve is a trademark or registered trademark of AMS-Neve LTD and BAE is not affiliated with such entity.
The 1073MPF preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smoothes the top end, giving the highs a silky sheen. The BAE 1073 slightly compresses transients, as well. It is a smooth, fat, larger than life sound. An added bonus is to use the front-panel DI inputs to fatten samples and synths and instruments. Balanced line-level inputs on the rear allow for fattening and punching up entire mixes, or in a signal chain with other +4 gear. Set the gain knob (red Marconi) around 20 on the dial and set the output (grey knob) fully clockwise. This gives you the highest headroom and cleanest signal path. Every click is in 5db increments so if one click is too hot, attenuate the output to get inbetween the 5db steps.Another trick people like to do is to put the final mix through the balanced line inputs on the back to get that harmonic distortion. To get even more of that Class A output stage is to come out of channel 1 and into channel 2 then you have an accumulative effect of that classic output stage. * Neve is a trademark or registered trademark of AMS-Neve LTD and BAE is not affiliated with such entity.
The BAE (formerly Brent Averill Enterprises) 312A mic preamps, made using the new Avedis 1122™ opamps, are punchy, have great bass and have a clear, extended top end. The sound is in your face and they don't compress transients. The low end is tight with good attack. They are excellent for drums and percussion. These pres are very cost effective. Many people buy racks of 6 or 11 to cover the entire drum kit. Features: