Black Lion Audio Auteur MK2 ...

2.798,-

Auteur MKII 500 Mic Pre The Auteur MKII 500 is a single channel, 500 series preamp that features phantom power, phase, a 13dBu pad, and a Hi-Z input. The Auteur MKII 500 is one of the most “bang for your buck” 500-series preamps in existence! You get all of the sound of the 1⁄2 rack version, but with the addition of a Hi-Z input! It features an ultra-fast input stage that captures lots of detail and nuance, and a signal path transformer that adds some “beef” on the way out. Once you hear the Auteur MKII 500, you’ll want to load your 500 rack full of ‘em!

Black Lion Audio Bluey 500 ...

8.374,-

Black Lion Audio - Bluey 500 FET Limiting Amplifier Bluey 500 is the 500-series version of the lauded Black Lion Audio Bluey. The original “Bluey” is Chris Lord-Alge’s not-so-secret weapon; the heavily-modified 2U compressor to the stars that’s been heard on countless hits. Having undergone years of odd fixes, modifications, and upgrades, the original Bluey was a singular and unique piece of studio unobtainium — until Black Lion Audio got their mitts and voltmeters on it. After working with Chris to reverse-engineer untold years’ worth of mods, component replacements, and upgrades, Black Lion Audio was able to make the legendary Bluey sound available to the world with the introduction of the original 2U Bluey compressor. Of course, they added a few features along the way without sacrificing what makes Bluey what it is. Black Lion firmly believe that everybody deserves a li’l Bluey in their life, so they’re proud to bring the world another li’l Bluey — the Bluey 500 — ready to add that unmistakable blue-striped mojo to your 500-series rack. You get all the squeeze, heft, and grit of the original Bluey in just two 500-series slots — a fraction of the original’s footprint.

Black Lion Audio Seventeen ...

6.258,-

Black Lion Audio - Seventeen 500 Compressor Black Lion didn’t sacrifice one ounce of tone when they shrunk down their classic Seventeen compressor to fit into the portable 500-series format. Seventeen, for those who don’t already know, is Black Lion’s unique take on what the classic ‘76 limiting amplifier could have been with the benefit of today’s tech. It’s not your grandpa’s ‘76. Seventeen 500 delivers profound detail and nuance never before heard with a ‘76-style compressor. And you even get some features not even available on the originals, including wet/dry mix control, a stereo-link option, and a frequency-adjustable sidechain high-pass filter.

Harrison 500-series 32C ...

6.560,-

Harrison 500-series 32C Preamp The 32Cpre+ takes the high-performance, transformer-coupled microphone preamp from the 32Classic studio console, combines it with the renowned Harrison LP/HP filters, and delivers it in 500 Series format. Inspired by the iconic Harrison 3232, the 32Classic mixing console and preamp is an American icon reimagined, delivering the tone that helped create some of the most iconic albums of the 70s’ and 80s’. Thanks to the 32Cpre+, that Harrison sound is now available in 500 series format. Legacy in analog Harrison consoles have helped create some of the most highly regarded and influential music in history. Michael Jackson, ABBA, Led Zeppelin, Queen, Donald Fagan, and many more iconic artists have relied on Harrison production tools to help create their multi-platinum albums. The latest range of 500 series modules from Harrison harnesses the sound and features that engineers like Bruce Swedien, Roger Nichols, and Reinhold Mack trusted to make music that stands the test of time. The Harrison tone The 32Cpre+ delivers the warm, rich tone that Harrison is renowned for. Full low-end, open mid-range, and super-smooth, natural highs are what to expect from this Jensen JT-MB-CPCA transformer-coupled mic-pre. The gentle roll-off at each end of the frequency spectrum and delicate phase shift created by the 1:1 ratio transformer produces a mic pre that sounds so sweet you’ll use it on any source material. Tools for tracking The 32Cpre+ delivers +20 to +70 dB of smooth gain capable of driving a wide range of mic types, including ribbon. In addition to 180 ° Phase, 48V, -20 pad, and HiZ impedance switches, the front panel features combo XLR with ¼" jack connector that lets you plug a microphone or instrument into the 32Cpre+ directly without having to access the rear panel of the 500 Series rack. Legendary Harrison filters A Harrison mic pre wouldn’t be complete without our legendary filters. As found in the original 3232 and latest 32Classic console, the filters have a musical 12dB/octave slope, with the High Pass Filter featuring a characterful 3 dB resonant peak. The High Pass Filter range is 25 Hz – 3.1 KHz, and the Low Pass Filter is 160 Hz – 20 KHz. Key features: The sound of Harrison. Jensen JT-MB-CPCA transformer-coupled mic-pre. +20 to +70 dB of gain. Front-mounted combo XLR with ¼" jack connector. 48V phantom power switch. Polarity reverse switch. HiZ impedance switch. Input overload LED. Compatible with 500 Series format chassis.

Harrison 500-series ...

2.730,-

Harrison 500-series Compressor The story behind Harrison and compression In the realm of audio engineering, Dave Harrison, the founder of Harrison Audio, stands out as a pioneer in the development of music production technology. Ironically, Dave Harrison himself was initially skeptical about compressors, a sentiment shared by his friend and legendary music producer and engineer, Bruce Swedien. Both held the belief that music should be captured authentically, without interference. However, the requirement for a compressor arose from the broadcast market's demands, seeking a tool to control dynamics and prevent clipping. To meet this demand, Harrison Audio ventured into the realm of compressors, with the result proving extremely effective. Its transparent 'leveling' capabilities, achieved with just a few dBs of gain reduction, quickly made it indispensable in music production for delicately smoothing signals, particularly on vocals, guitars, and other instruments with wide dynamic range. Over time, this compressor's ability to 'dig in' became apparent, transforming it into a sought-after vibe compressor when higher levels of gain reduction were applied. Dave Harrison's initial skepticism gave birth to a tool that not only met the broadcast market’s demands but also became relied on in the world of music production. Thanks to the Comp module, the distinctive Harrison sound is now accessible in the 500 Series format. Legacy in analog Harrison production tools have helped create some of the most highly regarded and influential music in history. Michael Jackson, ABBA, Led Zeppelin, Queen, Donald Fagan, and many more iconic artists have relied on Harrison to help create their multi-platinum albums. The latest range of 500 series modules from Harrison harnesses the sound and features that engineers like Bruce Swedien, Roger Nichols, and Reinhold Mack trusted to make music that stands the test of time. Comp design The Comp 500 Series module is based on a classic ‘feed-forward’ design, using a THAT 2180 VCA chip for outstanding analog performance. The compressor’s Attack is program-dependent, adapting to the input signal and offering an optimal Attack time depending on the source material. The Release time is continuously variable. These parameters can turn the Comp module from a transparent leveler to a highly saturated, vibe compressor, adding character and excitement to a wide range of sources. Harrison's secret sauce – put it on everything The Comp module is a very flexible dynamics processor. From a transparent ‘leveler’ on guitars and vocals, using a 1:2 ratio and fast release, applying 2-3 dB of gain reduction. To a sizzling vibe compressor on drums and bass, slamming the ratio in combination with a slow release. The Comp 500 Series module is a well-crafted, no-nonsense compressor that is your secret production ‘sauce’ – you’ll put it on everything. Key features: The Harrison sound. Extremely flexible compressor; from transparent ‘leveler’ to ‘character’ comp. Classic feed-froward design. THAT 2180 VCA chip for outstanding analog performance. Program-dependant ‘Attack’ time. Continually variable Release time from ‘Fast’ to ‘Slow’. Input overload LED. Compatible with 500 Series format chassis.

Harrison 500-series MR3 EQ

2.110,-

Harrison 500-series MR3 EQ Originally developed for the Harrison MR3 studio console, the MR3eq stands out as one of Harrison's most popular EQ designs, renowned for its punchy, smooth sound, and powerful sculpting capabilities. Introduced in 1981, the Music Recording 3 (MR3) console rapidly became the preferred tool for numerous leading engineers and studios worldwide, helping to create some of the most iconic albums from the 70s and 80s. Like all Harrison production tools, the MR3 EQ delivers the vibe to inspire artists and the precision for engineers to excel. Thanks to the MR3eq module, the distinctive Harrison sound is now accessible in the 500 series format. Legacy in analog Harrison consoles have helped create some of the most highly regarded and influential music in history. Michael Jackson, ABBA, Led Zeppelin, Queen, Donald Fagan, and many more iconic artists have relied on Harrison production tools to help create their multi-platinum albums. The latest range of 500 series modules from Harrison harnesses the sound and features that engineers like Bruce Swedien, Roger Nichols, and Reinhold Mack trusted to make music that stands the test of time. MR3eq design The MR3eq is a high-performance analog EQ, crafted from decades of experience in equalizer and filter design. The circuit design of this EQ allows for precision in surgical tasks or the creation of broad musical strokes with lots of band interaction for a rich and colorful sonic character. 3-band parametric with HPF This powerful three-band parametric equalizer features Low and High-frequency 6 dB/octave Shelf bands, which can be switched to a 2nd order Bell response with Harrison’s renowned proportional Q. The Mid-band offers a continuously variable Q, while a separate High Pass Filter section includes a distinctive 3 dB resonant peak. The MR3eq’s flexible design and powerful sculpting capabilities make it a versatile tool that enhances a wide array of source materials, proving equally effective in both tracking and mixdown scenarios.　 Key features: The Harrison sound. Perfect for both precision EQ’ing and broad musical strokes. Three-band parametric EQ with +/- 10 dB boost/cut range. High-frequency (800 Hz –15 kHz) 6 dB/octave Shelf band, switchable to 2nd order bell. Low-frequency (40 Hz – 800 Hz) 6 dB/octave Shelf band, switchable to 2nd order bell. Mid-band (400 Hz – 8 kHz) with continuously variable, proportional Q. Separate High Pass Filter with characterful 2 dB resonant peak. Separate ‘In’ switches for EQ and HPF sections. Input overload LED Compatible with 500 Series format chassis.

Meris 440 - 500 Series Mic ...

7.596,-

Meris 440 500-Series Mic Preamp Get Big Studio Console Sound on your Tracks The Meris 440 Mic Preamp is a unique boutique 500-Series studio preamp with a difference. With an integrated, pedal friendly built-in effects loop attenuated to guitar-pedal level, means that whatever your mic is recording, you can now use your guitar pedals to add effects to the signal. Designed to be the ultimate mic pre for guitar, the 440 is just as capable as a mic pre for vocals, percussion and other instruments as it is with handling acoustic and electric guitar transients. Cinemag I/O Transformers for an extremely fat mic pre-tone Built in Effects loop – connect your favourite pedals in-line or use as a superior Bass D/I High Pass Filter that selects between 80Hz and 200Hz Custom 7kHz or 4kHz High Shelf Filter to achieve the optimum tone for your instrument recording 20dB Pad, Phase Reverse and 48V Phantom Power switches Designed and Built in Los Angeles, California U.S.A. The Meris 440 is designed and built in L.A., California and contains only the highest quality components available today, like legendary Cinemag input and output transformers and hybrid-discrete OpAmps that receive and drive each respective transformer section. These all unite to create highly sought after classic American tone reminiscent of famously popular mic preamps made in the 1970s. The all-analogue signal path benefits from a customised 4kHz or 7kHz high shelf switch, 20dB pad and full control over the 60dB of gain and output levels. The levels of creativity you can go to with the Meris 440 are only hindered by your imagination! With immaculate attention to detail, the Meris 440 is solidly built and the front panel controls are clearly laid out and labelled, making it extremely easy to use. Plugging your guitar pedal into the effects loop means you can now add your favourite reverb or delay effects into the signal chain, distortion-free and without the need for any intermediary equipment. The effects loop input also doubles as a super-clean and smooth sounding D.I. for direct recording, adding to its versatility. Specifications: Gain: Up to 60dB of gain at the input stage High Pass: 12dB / octave High-Pass: 80Hz or 200Hz corner frequency Shelf: High-Shelf boost: + 3dB at 4kHz or 7kHz corner frequency Frequency handling: 20Hz to 20kHz flat frequency response (+/- .3 dB) with all filters disengaged Self-Noise: -130dBu EIN (A-weighted) Input Impedance: 1Meg Ohm input impedance at Return/D.I. input Additional switches: 20dB Pad, Phase Reverse/polarity switch and 48V Phantom Power controls Signal path: Premium components throughout the all-analogue signal path

Meris Hedra - 500 Series ...

7.596,-

Powerful in Execution Put Hedra 500 into your studio rack and re-voice your melody palette in real time. 3 voices, in rhythm, combine with your original voice to create angelic harmonies. Each voice can be delayed and fed back for classic studio fattening, detuning, or extreme warping.  Explore pitch locked harmony, either smooth or hard stepped and use your voice as an instrument. Add sonic unease and texture by micro tuning each voice or with our original glide mode to slide between pitches. 3-Voice Rhythmic Pitch Shifter Selectable Pitch Correction Types to Re-Voice your Melodies in RealTime Hard Stepped Pitch Correction available Individual Controls for Pitch and Time Offset for each Voice (3 Voices Total) Micro Tune control creates gentle chorus-like detuning, classic studio fattening, and extreme warping Chromatic or Key Driven Harmony with Selectable Scale Types 520 mS tap tempo synced delay with selectable pitch feedback Our Original Glide Mode slides between pitches at the speed you choose Choice to sweep through Intervals smoothly or hard step for dramatic pitch effects Switchable Half Speed and Auto Swell for advanced textures Digitally controlled Analog mix control Premium analog signal path and 24-bit AD/DA w/32 bit floating point DSP Balanced I/O, extremely low noise floor and high headroom for a pristine studio signal path Color – raw brushed aluminum with clear coat Designed and built in Los Angeles, California U.S.A.

Meris Mercury7 - 500 Series ...

7.596,-

Meris Mercury7 500-Series Reverb Off-World Ambience The Meris Mercury7 Reverb is the world’s first 500 Series Algorithmic DSP reverb unit and uses a premium analogue signal path, alongside 24-bit AD/DA with 32-bit floating-point DSP to deliver its out-of-this-world reverb. Inspired by Vangelis’ majestic soundtrack for the sci-fi masterpiece Blade Runner, Mercury 7 Reverb is designed to send both humans and androids into an eternal dream state with its wealth of stunning reverb algorithms. From subtle plates and huge cathedrals to massive building soundscapes, swirling modulation, epic auto-swells and cascading shimmering pads. Whether you’re looking to capture the sound and feel of well-known earthly spaces, or that of huge starlit galaxies far away, the Mercury7 is sure to deliver! Handcrafted Algorithmic Reverbs Analog Mix & Dry Signal Path Intra-Tank Pitch Regeneration High & Low Frequency Damping Extensive Modulation Capability Variable Auto Swell Envelope Premium analog signal path and 24-bit AD/DA w/32 bit floating point DSP Stereo and Surround Linkable Designed and Built in Los Angeles, California U.S.A. With this dedicated hardware DSP reverb, you get all the reliability and pro level headroom necessary in modern studios (up to 21dBu / 30volts peak to peak, 116dB signal-to-noise ratio) without any load on your CPU/DAW. Plus, it has real knobs allowing you to sculpt the perfect reverb in real-time. As with all Meris products, the Mercury7 Reverb is designed and manufactured in Los Angeles, California U.S.A, to the highest specifications. The algorithmic reverb has been developed in house by their engineering team, who for many years have been responsible for some of the best sounding DSP in the known galaxy. The Mercury7 is truly something special. From the first note you play through this magic blue box, the tone and saturation you get from it is just spectacular. It’s very versatile, offering everything from sparkly-clean shimmer ‘verbs to dark and moody hall reverbs. It also features modulation should you want to delve deeper. Stereo, you ask? Not a problem. With two Mercury7 modules you can live in stereo sweetness using the stereo link cable. Then the left unit’s controls will control the right, or you can set them individually, as you please. Specifications: AD/DA: 24 Bit DSP: 32 Bit floating DSP hardware S/N Ratio: -116 dB Signal to Noise ratio Signal path: Premium analogue signal path throughout I/O: Burr-Brown precision balanced input and output drivers Mono / Stereo: Stereo and Surround linkable (requires link cable) True Bypass: 100% Analogue bypass Power consumption: <100 mA total power consumption

Meris Ottobit - 500 Series ...

7.596,-

Meris Ottobit 500-Series Bitcrusher Audio In >> Video Game Out Say ‘Hello’ to the Meris Ottobit 500-Series Bitcrusher – No quarters needed. Crush bits, de-res and sonic destroy. Beep Boop Bop Boop Beep! Conceived as an “Audio In >> Video Game Out” unit, the Ottobit enables you to transform your audio through a dynamic maze of textures, synth elements and bit crushing and is designed to give musicians and sound designers tools to sculpt any source into audio reminiscent of early 8 and 16-Bit video game soundtracks. Ottobit allows you to create totally unique sounds using its sample rate decimation and bit reduction circuitry, while giving you power over the video game soundscape with a host of Ring Mod effects, Envelopes & LFO Filters. Variable Sample Rate and Bit Crushing Triggered Stutter Effects Tap Tempo for triggered envelopes & LFO modifiers Premium and hi-end analog signal path Designed and Built in Los Angeles, California U.S.A. Along with bit reduction (right down to 1-Bit) and sample rate decimation, Ottobit offers ring modulation, envelopes and LFO Modifiers and tap tempo control to trigger the envelopes and is a powerful creative tool for electronic musicians and producers. It offers a unique collection of processing elements, giving you absolute control over interesting textures, sweeping sample rate changes, tremolos, vibratos, vintage octavers and primal pitch shifting, all inspired by Kubrick’s use of the Information Rate Changer. Made in California with a premium analogue signal path and 24-Bit AD/DA with 32-Bit floating-point DSP, Ottobit will smash, crush and decimate your signal opening up a whole universe of aural possibilities. Its design is unique, granting you the power to make any sound source sound like those video games soundtracks so evocative of the 80s. Specifications: Sample Rate: Decimate sample rate Bit Reduction: Variable bit reduction down to 1-Bit Levels: User controlled gain and mix Ring Mod: Pitch track enabled ring modulator Tap Tempo: Tap tempo controlled triggered envelopes & LFO modifiers Waveforms: Selectable LFO and Ring Mod Waveshapes – from sine and triangle to square Frequency Modulation: Parallel blendable Ring Mod AM/FM Modulation Signal path: Premium analog signal path and 24-Bit AD/DA DSP: 32-Bit floating point DSP Bypass: 100% Analogue bypass Power consumption: <100mA total power consumption

Meris Stereo Linking Cable ...

168,-

Internal cable which easily installs between two Mercury7 or Ottobit modules to allow stereo control of the modules. When installed, the left module sends all control parameters to the right module to keep them in sync. The right module can still be set independently to allow true independent stereo operation. https://www.meris.us/wp-includes/js/mediaelement/mejs-controls.svg

Radial EXTC 500 Guitar ...

4.970,-

EXTC 500 Guitar Effects Interface & Reamp Module The Radial EXTC is a unique 500 series module that allows you to connect guitar pedals to the inputs and outputs of pro audio equipment, providing the ability to incorporate effects pedals into your mix in new and creative ways. Balanced interface for guitar effects pedals Separate send & receive level controls optimize signal path Transformer isolation to eliminate hum and buzz from ground loops Creative tool incorporates effects pedals into your mix Reamp and mix through your guitar pedals The EXTC-500 is a 500 series module that allows you to get creative with your effects pedals, using them in your mix on any recorded track. Add a touch of distortion or chorus to a lead vocal, flange on a violin, or fuzz on piano - the possibilities are endless. The EXTC-500 takes the line level balanced output of your recording interface and converts it so an instrument level high-Z output optimized for guitar effects pedals, so you can Reamp any track through your pedalboard with ease. Once you've run the signal through your pedals, connect the output back into the EXTC and it will boost it up to a balanced line level so you can connect directly to the input of your recording interface. The EXTC features Radial's class-A buffer for the best audio quality and transformer isolation to eliminate any buzz or hum - so you can focus your attention on using your pedals in new and exciting applications.

Radial Powerhouse 10-Slot ...

13.240,-

Powerhouse - 10-Slot Power Rack The Powerhouse is a 10 module 500 series power-rack designed to accommodate both older and newer 500 series modules and provide the studio with maximum density in a standard 19″ rack frame. 10-slot design for maximum density Individual XLR & ¼” TRS i/o on each slot 1600 milliamps total shared current Innovative feed and link functions Powerhouse The design begins with heavy 14-gauge steel construction and durable powder coat finish for maximum shielding against noise and greater durability when subjected to road use. An 'easy glide' slider tray makes it painless to align the PCB connector to the 15 pin card edge receptacle when swapping modules. Once connected, the rear panel sports a standard array of XLRs to connect to and from the workstation or mixer. This is augmented with a series of ¼" TRS connectors that enable cross-patching and open the door to the excitement of parallel signal processing. Instead of having to hard patch modules together using a cable, the Powerhouse incorporates an innovative feed switch that instantly connects the signal to the adjacent module. This makes building signal chains quick and eliminates the need for extra cables. And unlike older racks that require soldering when modules are used in stereo, the Powerhouse is equipped with a stereo link function that takes care of the task with a simple slide of a switch. Unlike older racks that are limited to an average of 130 milliamps per slot, the Powerhouse boasts a 1600 milliamp power supply that lets you share the power as needed. This means it can deliver 300 milliamps to your two tube preamps and still have over 1000 milliamps left in the pool! And just like all Workhorse racks, the Powerhouse is equipped with extra safety features to ensure safe use when mixing and matching various brands.

Radial Workhorse 8-Slot Power ...

19.340,-

Workhorse 500 Series Rack The Radial Workhorse is a modular 500-series rack that combines an extensive patching system with an analog summing mixer to create an incredibly flexible studio environment. 500 series 8 slot rack with 8×2 summing mixer Plenty of current for power hungry modules Dual output headphone buss for monitoring DB25, TRS & XLR I/O for flexible patching Create Unique Channel Strips Compatible with all API 500 series modules, the Workhorse provides more power and easier connectivity than a typical rack. Not only is it equipped with a variety of I/O options, but signal to be routed from one module to the next without cables to easily create channel strips. Compatible EQ and compressor modules can also be stereo linked with the flick of a switch. A special Omniport jack delivers module-specific functionality that can range from an extra output, key input, or effects insert depending on the module. Finally, an external 1600 mA power supply provides enough current to ensure each module is powered correctly. Mix Outside The Box Unique to the Workhorse is a built-in summing mixer that allows module outputs to be turned on and off, level matched, and panned to a Jensen transformer coupled stereo output. Multiple Workhorses can be linked in larger mixer setups, and a high-quality headphone output allows for monitoring without latency when tracking.

Radial X-Amp 500 Reamper 500 ...

4.790,-

X-Amp 500 Reamper 500 Series Reamp The Radial X-Amp is a 500 series module that lets you take a pre-recorded guitar track and send it back to amplifiers and effects so that you can tailor the sound to suit. The advantages of Reamping® are many: when recording, the guitarist need only concentrate on the performance. Working out specific sounds and optimal mic placement can be done later. This eliminates hours of tiresome repetition while allowing the producer to adjust the character of the track as the production evolves. Active Reamp® designed for 500 series racks 100% discrete class-A electronics for best tone Transformer isolated to eliminate hum and buzz Easy access front panel jacks & controls Professional Reamp Using the X-Amp is 'plug and play' easy to use. The design begins with an XLR balanced line level input located on the 500 series rear panel that feeds the X-Amp. To ensure the very highest fidelity, 100% discrete class-A circuitry is employed. The X-Amp unbalances and buffers the pre-recorded signal where it then feeds two transformer isolated hi-Z guitar level outputs. The ¼" jacks are front mounted for desk-top convenience and equipped with ground lifts to help eliminate hum and buzz caused by ground loops. Independent level controls enable you to adjust the drive going to each amp for optimal tone. Should one of the amps be out of phase, depressing the 180º quickly brings both in line.

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