The Vintech X73 is a class A, all discrete, transformer balanced microphone preamplifier with equalizer. It is built with the same circuit design and components as the classic Neve 1073 module

Our new “X81 Class A” features the same great microphone preamplifier as our X73, but with a more comprehensive four band equalizer with “Q” adjustments on the two mid range frequencies. We utilize the same class A amplifier designs found in the Neve 1073 module throughout our X81 Class A. The equalizer section features ten low mid frequency points, 10 hi mid frequencies, 5 frequecy choices on both the low and high shelving adjustments. There is also a high pass filter, a D.I. and an ouput strength meter.

The Universal Audio 2-610 is based on the legendary Universal Audio 610 modular console. Designed by Bill Putnam, the Universal Audio 610 was among the first modular recording consoles. Early Universal Audio consoles were used in all of Putnam’s studios including Universal Recording in Chicago and United/Western in Los Angeles. Many prominent engineers such as Bruce Swedien began their careers in these studios with this classic rotary knob console. The 610 was particularly well noted for its preamplifier, and has left its mark on countless classic recordings from Frank Sinatra to Van Halen, to the seminal Brian Wilson recording, Pet Sounds.

• Classic Sound of the Legendary 610 Modular Console
• Variable Gain and Output Levels, Multiple Impendence Settings
• Mic, balanced line and Hi-Z inputs
• High and Low shelving EQ
• Updated “silverface” cosmetics & enhanced build quality
• Improved EQ circuit and more “open” sonics as requested by users
• New switchable -15dB pad as requested by users
• Ultra quiet operation
• Custom wound double sized alloy transformers

FORM FACTOR

One channel, multi-input, gain, filter, parametric equalizer with insert capability and internal power supply

• Inputs: Mic (balanced, XLR), MI (Musical Instrument; unbalanced, 1/4” TS)

• Gain control: +15dB to +7dB, 5dB steps

• Fine control: -5dB to +5dB, continuously variable

• Phase switch, Phantom power (P48) switch

• Filter — Second-order Butterworth active high-pass filter; 100Hz, flat, 40Hz

• Insert control: split parametric equalizer from preamplifier

• EQ section: four bands, fully parametric, continuously variable controls

• EQ IN switch

• Overload (OL) indicator: peak indication, preamplifier and equalizer

INPUT

Microphone: 1 kΩ balanced, >80dB CMRR, +17dBu max input before clipping

Insert In: 20 kΩ balanced bridging, >40dB CMRR, +21dBu max input before clipping

MI: 1 MΩ unbalanced, +8.5dBu maximum input before clipping

THROUGHPUT

Bandwidth:

-0.1dB / +0.002dB, <10Hz to >30kHz, worst-case

-3dB, >300kHz and <<10Hz, typical

<0.003% Harmonic distortion, 20Hz to 20kHz, typical

<0.006% SMPTE Intermodulation distortion, typical

30v/usec discrete low-noise precision operational amplifiers, GML 9202

Noise:

-80dBu broadband, EQ engaged, typical

-112dBu EIN, MI input

-120dBu EIN, Microphone input (Rs = 150Ω, 30kHz BW), worst-case

-80dB crosstalk, 20Hz to 20kHz, worst case

OUTPUT

+27.0 dBu clipping

< 3 mV output offset, stabilized by DC servo correction, direct coupled

Wired pin 2 “hot”, 3-wire unbalanced

OTHER

Internal linear power supply, 110V/220V switch, 50/60Hz; +/-28 VDC, +/-18 VDC, +48VDC

Approx. power consumption: 28W; 500mA/250V slo-blo fuse installed (110V operation)

Separate Ground and Chassis connections at rear

19″ W x 1.75″ H x 10″ D rack mount chassis, black anodized aluminum, silver legend

Weight: 11 lbs., approximate; shipping weight may vary

Using the same circuit topology as the original ISA microphone pre-amplifier designs, the Red 1 offers four channels of ultra-high quality Focusrite microphone amplification. Used with high quality ribbon, valve and condensor mics, the Red 1 obtains outstanding results with any sound source, but especially voice, piano and string instruments.

With four mic pre-amps in a single unit, the Red 1 is ideal for those looking for improved audio performance, as a compact ‘way in’ to digital recording systems, or for location multi-mic recordings. Each channel offers custom-wound Focusrite input transformers, switchable phantom power, phase reverse, an easily-read illuminated VU meter, and a handy scribble disc for denoting channels. Mic gain is switched in 6dB steps over a 66dB range, for accurate, precise channel matching and recall.

The ASP008 is a compact, 1U rack mount unit featuring eight ultra high quality mic preamplifiers developed from the renowned mic-pre design used in the acclaimed ASP8024 recording console.

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. Both cards now support sample rates of up to 96kHz over ADAT S/MUX.

Features:

• Complete API input strip with bussing
• API 2520 Op-Amp
• API 212L Mic Preamp, 225L Compressor
• Re-issue of the famed 550A EQ
• Four Aux sends, Pre or Post fader assignable
• Four busses
• Stereo bus with internal rotary fader
• Solo, SIP, Mute, Insert, Polarity, and Compressor Link
• Complete patching facilities on rear panel
• External fader jack
• Three 7 segment LED VU displays
• Output clips at +30 dBm

The API 7600 Input Module offers studios of all sizes a whole new range of options without sacrificing quality. The 7600 strip forms the basis of a build-as-you-need-it, high quality recording console. It is the perfect choice for project studios who want high performance console sound, but have limited channel needs or budget constraints, and professional studios that want to add more channels to their existing desk through the addition of a side car.

The API 7600 fits into one rack space unit and it includes a genuine API mic pre, a compressor and a real 550A EQ right out of the glory days of rock ‘n roll. The 7600 mic pre is the same 212L mic pre used in the Legacy Consoles. The EQ is an exact re-issue of the famed 550A, offering 3 bands of EQ with 7 frequency choices per band. The compressor is the 225L, the same one found in the all-discrete Legacy Console currently in production.

The 7600 comes complete with an internal power supply, and is the basis for building a 4, 8, or 16 channel professional sounding API console.

Discrete Mic / Line Pre

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

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.

The Channel in a Box (CIB) was the first module in the Pure Path range of creative signal processing devices. Inspired by the success of the 9098i, the no compromise design of the CIB combines Mic Pre-Amp, Line Amplifier, Hi and Lo Pass Filters, 4 Band Equaliser and Classically Inspired Compressor, all carefully designed into a 1U-rack space.