• After extensive research and development, the EM-PEQ has captured the essence of the EQP-1A and contained it in the compact and popular 500-Series format. The EM-PEQ faithfully preserves the EQ section design, control layout, and wonderfully smooth musicality of the original Pultec.
  • World-Class Dual-Mono Tube EQ at home on the mix bus as well as individual instruments.
  • The MIX FACTORY is not just a summing unit, it delivers analog warmth with the depth and image needed to make your mixes stand out from the crowd.
  • Stereo tube microphone preamplifier and D.I. with all discrete circuitry, point-to-point wiring, as well as input and output transformers.
  • Solid state/tube hybrid dual-mono compressor. Infinite sound-shaping possibilities.
  • The P-1 has the highest fidelity of all the A-Designs Audio 500 preamps, capturing the mojo of its older and larger sibling, the extremely popular Pacifica. It has a big low end, slightly forward midrange and extended highs. If you’re a fan of the Quad Eight or API sound, you’ll love the P-1! It shines on vocals, instruments, room mics, piano, and on instruments with sharp transients such as drums and various percussion instruments. If you’re building a 500-series unit with drum recording in mind, a pair of P-1s is a superb choice for overheads when you want to capture the entire kit - especially the sizzle of the cymbals.
  • Designed, built, and extensively "ear-tested" by long-time recording industry veterans, the A-Designs Pacifica takes its sonic signature and name from the revered Quad Eight mixing console. However, the A-Designs Pacifica has a sound and character all its own.
  • One of the most popular D.I. boxes of all time, the all-tube REDDI is an industry standard.
  • 2 Channel version of the renowned, all-tube REDDI D.I. Box, with custom-wound CineMag transformers and unbelievable sound based on the Ampeg B-15.
  • The A44H offers a low-profile alternative to the A Series A7V while delivering similar performance characteristics. With a 19-inch width, the horizontally oriented A44H can sit on a standard rack shelf or be mounted above or below a display. The completely new design also enables the A44H to serve as a center speaker in immersive and 3D speaker configurations. Dual 4-inch long-throw woofers and the X-ART tweeter deliver a wide frequency range, while onboard DSP-based tuning capabilities enable you to tweak the sound easily.
  • Designed for small studio spaces, short listening distances and immersive multi-speaker configurations, the A4V delivers accurate, full-bodied sound in a compact form factor. The A4V is a two-way speaker incorporating a 4-inch long-throw woofer made from the same Multi-Layer Mineral (MLM) fibers as other A Series speakers plus the classic X-ART tweeter. Onboard DSP-based tuning capabilities let you easily dial in the perfect sound for your space.
  • The A77H is a true three-way midfield monitor that capitalizes on the latest ADAM Audio technologies to deliver a rich, spacious, and enveloping sound. Incorporating two 7-inch woofers, a midrange driver, and ADAM Audio’s X-ART tweeter, the A77H delivers an ultra-wide frequency range. The addition of the midrange driver helps produce clear sound in the most sensitive range of human hearing. Rotatable HPS waveguide technology and onboard DSP allow you to tune the sound for your precise requirements.
  • The A7V is a contemporary 2-way monitor that represents the evolution of ADAM Audio’s award winning A7X. It features a 7” Multi-Layer Mineral woofer and rotatable X-ART tweeter, which is made by hand in Berlin. DSP-based voicing, equalization and room correction options can be controlled remotely and in real time via the free-to-download A Control software, and updatable firmware allows for new filters and tunings to be implemented over the lifetime of the monitor.
  • The S2V is a classic two-way nearfield monitor designed for use in small-to-medium-sized control rooms. With its highly accurate frequency response and balanced, razor-sharp imaging, the S2V allows users to pinpoint even the most subtle audio details, making it an ideal choice for use in demanding studio environments.
  • The S3H builds on the successes of ADAM Audio’s most popular studio monitors, the S3A and S3X-H, and, like its predecessors, sets new standards in terms of technical innovation and design. The dual 7-inch bass drivers, powered by a 500 W Class D amplifier, offer flawless reproduction of frequencies all the way down to 30 Hz. ADAM Audio’s newly developed DCH, a 4-inch hybrid dome/cone mid-range driver, is powered by a 300 W Class D amplifier and handles audio above 250 Hz and below 3 kHz, its leading-edge hybrid design offering the sonic advantages of both cone and soft-dome drivers in a single, one-piece unit. Frequencies above 3 kHz are routed to the innovative combination of the S-ART treble driver (each handmade at ADAM Audio’s Berlin factory), the new precision HPS waveguide, and a 50 W Class A/B amplifier. The result of all this innovation is a beautifully transparent three-dimensional soundscape, with an extensive sweet spot.
  • The S3V is a three-way studio monitor optimized for vertical use and designed primarily for midfield applications, although it may also be used in more compact listening environments. The S3V’s built-in amplification is generously specified, comprising Class D units for the bass and mid-range drivers (500 W and 300W RMS respectively) and a 50 W Class A/B amplifier for the S-ART tweeter. Offering flawless reproduction of audio frequencies between 32 Hz and 50 kHz, the S3V is a standout offering for anyone demanding highly accurate imaging and localization from their reference monitors.
  • The S6X main monitor is designed for large control rooms and film studios. It uses a symmetrical concept to increase the realistic reproduction of ADAM Audio monitors to higher sound pressure levels. ADAM Audio has avoided the typical overloading of the bass range that can often be found in main monitors. A wide horizontal radiation characteristic and moderate vertical beaming are crucial factors to minimize the impact of ceiling and floor reflections and achieve neutral sound reproduction at high volumes.
  • The T10S is one of the most compact subwoofers in its class, which allows it to be easily integrated in any studio environment. The acoustic performance was optimized by four high grade flexible rubber feet that prevent the sound from exciting the floor and a spacious rear facing bass reflex port for an optimized airflow.
  • The T5V is a highly affordable two-way nearfield monitor and optimized for small control rooms. With its 5” woofer the bass-frequency response of the T5V extends to 45 Hz. The new U-ART tweeter, a breakthrough solution for use in high-resolution recording and mixing on a budget, goes up to 25 kHz and is mated to a precision waveguide with the same dispersion-control attributes as the High Frequency Propagation (HPS) waveguide used in ADAM Audio’s flagship S Series monitors. The waveguide’s highly uniform dispersion of high frequencies provides an incredibly wide sweet spot that frees you from being glued to a rigid mix position while working.
  • The T7V is a two-way studio monitor designed for vertical use in a nearfield application. The wide frequency response, high dynamic range, excellent transient response, wide sweet spot and small footprints make the T7V perfectly suited for use in small control rooms for music production, video post-production and broadcast production – a great fit for the modest budgets that many facilities need to work with.
  • The T8V is an affordable, professional 2-way powered studio monitor with an 8˝ woofer and ADAM Audio’s latest addition to the T Series. The T8V is the perfect studio speaker for those who have always wanted to work with an 8" monitor from ADAM Audio, but where budgets have been insufficient.
  • AEA A440

    $6,799.00
    Inspired by AEA’s forty years of experience with ribbon mics, particularly 44s, the AEA A440 has the greatest useable dynamic range of any ribbon microphone manufactured today. The A440 is also the quietest ribbon microphone in existence. At the low frequency end the A440 delivers bass with effortless authority. It has a flat frequency response and holds an accurate figure-eight polar pattern down to 20 Hz. The A440 has a smooth and articulate midrange, and at the high end, transients are quick and detailed without hard edges.
  • AEA KU4

    $5,999.00
    The KU4 is unmistakably a ribbon microphone, with a characteristically smooth ribbon sound. Like other ribbons, its lightly-tensioned, ultra low mass ribbon has a frequency response beyond 20 kHz, an accurate transient response, and no upper midrange resonances common to large condenser mics. However, having a supercardioid instead of a figure-eight polar response pattern mics sets it apart from other ribbon mics. The KU4's suppressed rear lobe reduces the pickup of room ambience and is especially useful when the rear of a figure-eight pattern would pick up undesirable sounds. The KU4's reduced bass proximity effect facilitates closer micing while its low-tuned ribbon will not exhibit bass distortion. These characteristics make the KU4 well-suited for modern studio production.
  • AEA KU5A

    $1,499.00
    Over half a decade of pushing the envelope has led to the latest ribbon mic in the AEA's arsenal: the AEA KU5A Supercardioid Ribbon Microphone. can deliver the audio spectrum in detail, for both live sound and studio recording. The KU5A is at home on the road or in the studio, with heavy-duty construction and active electronics that play nicely with a wide range of preamps. Put it in front of guitar cabs, snare drums, brass players and vocalists. It can handle them all and then some. The KU5A is made to deliver clarity and depth in any situation; it’s like no other ribbon mic made, by AEA or anyone else.
  • AEA N22

    $1,099.00
    The AEA N22 is a modern near-field and active ribbon mic with a rugged lightweight design, extended top-end clarity, and reduced proximity effect making it perfect for close miking of instruments. It delivers clarity and balance in frequency response, even when positioned just inches from the source, and can stand alone in a mix without the need for the blending additional mic signals due to its extended top-end. Unlike traditional ribbon mics, think of the N22s placement in terms of inches instead of feet. Of course, near-field mics can be positioned at a distance, but they have a more balanced sound close to the sound source. The N22 not only handles the SPL levels of a high-gain amplifier and kick drum with ease, but it also translates all the gritty details of an instrument that musicians seek.
  • AEA Nuvo N8

    $2,799.00
    The AEA N8 is the second member of AEA's NUVO series of microphones. Rooted in the RCA tradition just like other AEA ribbons, all NUVO microphones are designed to offer a fresh approach to the ribbon transducer and represent Wes Dooley's take on the evolution of the ribbon microphone. The N8’s unobtrusive size and black finish is ideal for orchestral and TV work, where microphones need to be easy to position and more or less invisible. The N8’s phantom-powered electronics and a custom German transformer complete the package and deliver groundbreaking low level detail and optimal distortion performance, even when driving long cable lines in remote recording situations. Just like all other AEA products, the N8 is 100% manufactured in Pasadena, CA.
  • AEA R44CE

    $3,499.00
    The AEA R44CE combines the 1930s US sound with British engineering from RCA that reduces the mic's weight and hum sensitivity. The R44CE comes with a hard-wired three meter starquad XLR output cable and AEA 44VC vertical carrying case for proper shipping and storage.
  • AEA R84

    $1,199.00
    Based on the character of the legendary R44, the AEA R84 Ribbon Microphone provides classic tonality with extended top-end and reduced proximity effect for medium and close range recording. In 2000, AEA sought to design a more compact, lighter and less expensive version of the hefty, eight-pound RCA 44BX. The result was the R84, which includes the best of the 44 series in a lower cost, three-pound package. The R84 and original RCA 44 (now the R44C) share the same Big Ribbon element, transformer and other elements in the design. By using modern design techniques and stronger — but smaller — magnets in the R84, the classic RCA ribbon sound is retained.
  • The AEA R84A Ribbon Microphone is an active version of the award-winning R84, providing the same sonic qualities but now with more output and immunity to impedance-loading, giving the user a wider range of preamp selection and a lower signal to noise ratio. The R84A is the perfect companion to a touring or studio musician that relies on the sound and quality a ribbon mic delivers, but requires the consistency and risk-free performance no matter the size of the stage or quality of the studio.
  • AEA R88 MK2

    $2,299.00
    The AEA R88 MK2 Stereo Ribbon Microphone is optimized for recording instruments and ensembles in stereo. The R88 uses the large ribbon configuration of the classic RCA 44 series mics, which gives the mic solid 20Hz bass response and a smooth high end which is flattering to complex tones. There is no easier way to track in stereo than with a stereo microphone with two configured transducers in a single sleek package. A stereo microphone is highly useful in recording situations in which it is more convenient or aesthetically pleasing to have a single housing for both capsules, such as for drum overheads or live concert recordings.
  • The AEA R88A Active Stereo Ribbon Microphone with custom toroid transformers captures sound as your ears hear it with an honest, open tonality. The R88A effortlessly records the sonic intricacies of drums, strings, piano, and other instruments that produce complex transients. The extra 12 dB of transformer gain is advantageous when recording quiet sources like vocals or soft acoustic guitars. The active impedance buffers help prevent noise interference on long cable runs or when operating near large lighting rigs. The R88A requires standard 48V phantom power to operate.
  • AEA R92

    $1,099.00
    Offering a classic ribbon character in the form of a near-field, the dual-tone AEA R92 functions as a versatile creative tool with innumerable possibilities. Similar in sound to the R84, but with a more pronounced midrange and minimized proximity effect, the R92 performs brilliantly when up close to brass, guitar amps, kick drum, and percussion. One side of the R92 yields a tonality distinct from the other, essentially providing two mics in one giving options on different sources. When supplemented with a brighter mic signal, the R92 serves to balance the scales in a mix with its low-end clarity and warm midrange.
  • GALAXY 32 SYNERGY CORE 32-CHANNEL AUDIO INTERFACE WITH DANTE, HDX AND THUNDERBOLT 3 The Galaxy 32 Synergy Core sets a new performance standard in its class by expanding the capabilities of the Orion 32 line with Dante audio networking and Synergy Core processing. Designed for professional recording studios and high-profile production and broadcasting facilities, the interface offers 32 channels of analog I/O with mastering grade AD/DA conversion and clocking as well as industry standard HDX and Thunderbolt for easy integration with your setup.
  • 64-CHANNEL DANTE®, HDX & THUNDERBOLT 3™ AUDIO INTERFACE WITH ONBOARD DSP Galaxy 64 Synergy Core is a high-end recording system that connects your entire studio within a 2U rack space while providing high-fidelity audio and onboard effects processing for your most demanding projects. With Dante, HDX and Thunderbolt connectivity, the world’s first 64-channel AD/DA converter offers unbeatable flexibility when moving sound around your high-profile production facility, live stage, broadcast, or other enterprise applications.
  • ORION 32+ THUNDERBOLT™ AND USB AD/DA AUDIO INTERFACE For over a decade now, the Orion 32 line of interfaces has been revolutionizing the world of professional audio recording and production. The latest revision of this iconic 1U studio centerpiece steps up the game by taking the best of its predecessors and adjusting it to the ever- growing needs and standards of the industry. Orion 32+ Gen4 incorporates the latest Antelope Audio tech, drastically boosting the unit’s potential.
  • Following the introduction of the 1608 in 2008, API delivered over 600 consoles and expanders to discerning audio professionals throughout the world. New for 2018 and based on the incredible success of the original, API proudly announces the 1608-II. Equipped with an updated feature set and debuting API's new cross-platform Final Touch Automation® system, the 1608-II continues API's rich legacy of crafting the world's highest-quality analog recording consoles. Adding valuable features for today's Engineers, Producers and Musicians, the 1608-II provides the powerful reliability and the incredible API sound that has characterized API products for nearly 50 years. ***Call for pricing and configuration.***
  • The API 212L microphone pre-amplifier is an integral part of the famous Legacy and Visions Series of consoles and is available for the L200 Rack System. 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.
  • API's 225L is designed for individual channel use, or through the use of the external LINK funcauto-makeuption. 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. The 225L can be used in the Legacy, Legacy Plus or Vision Series Consoles, or in the L200 Rack. The 225L Compressor makes use of the 2520 and 2510 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of all API products.
  • Designed to the same standard of excellence as the 1608, Legacy AXS and Vision consoles, API proudly announces the debut of the new 2448 Recording Console. The 2448 offers a powerful and impressive feature set including Dual Inputs on each channel, Stereo Returns and optionally, API's new cross-platform Final Touch Automation® fader automation system. The 2448 expands API's powerful line of world-class analog recording consoles and continues API's nearly 50 year legacy of combining functionality and reliability with the unmistakable warmth of the API sound. ***Call for pricing and configuration.***
  • The API 2500+ Stereo Bus Compressor allows adjustment of sonic qualities to alter the punch and tone of the stereo mix. The 19-inch, rack-mountable unit features a dual-channel design that can be configured for stereo compression or for use as two separate units via a single compression setting.
  • The 312 is one of API's most sought after and famous mic preamps. First introduced in the 1970s, it is well known and respected throughout the recording industry, and is the building block of the modern 3124 rack unit. Based on API co-founder Saul Walker's original designs, the API 312 Mic Pre combines our 2520 op-amps and proprietary transformers. It delivers the analog warmth, massive headroom and unmistakable sound for which API is known, in a convenient 500 Series format.
  • The new 3122V provides 2 channels of API's signature analog sound and features the same legendary circuit design found in the 3124V and 3124MV, as well as the 312, 512V, and 512c mic preamps. In addition to the familiar combination of 2520 Op Amps and proprietary output transformers that give all API mic preamps that punch and massive headroom, the 3122V also includes front and rear panel XLR and 1/4" inputs (conveniently selectable on the faceplate), a fixed-frequency HP filter, GAIN and the popular Variable Output Level control, as well as 48V, POL, and PAD. Rounding out the expansive feature set are the 3:1 Output Transformer Tap and 2 stunning analog VU meters with a separate peak LED.
  • Both the 3124V and the 3124MV are designed with the professional engineer in mind. Both units give four channels of the highest possible quality mic preamp. However, the 3124MV provides an additional audio mixer with a transformer balanced output, keeping the unit size and price reasonable. Both models are equally at home in the control room, studio, and recording truck or on stage.
  • Like the API 3124+, the 3124V is a high quality, compact, 4-channel mic preamp. It is equipped with the AP2516 input transformer and the proprietary output transformer found in all API mic pres and throughout the API product line. Additionally, the 3124V offers Variable Output Level Control and switchable 3:1 output transformer selection. The unit has an internal 48-volt phantom power supply, which is switchable for each channel, as well as -20dB pad switches that affect both the mic and Hi-Z instrument inputs, both located on the front panel.
  • The API Model 500VPR is powered externally by a tri-polar power supply 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.
  • Like the console-based API 205L, the 505-DI is specifically designed to accept a guitar, bass or keyboard direct input while minimizing any loading effect on Hi-Z instrument pickups. Additionally, the 505-DI's Gain Control is used to normalize an instrument's input level, up to a +4 dBu output level. API's unique TONE control reduces potential low end "mud" in the signal, while turning on the BRIGHT switch adds additional clarity if desired. The various combinations of TONE and BRIGHT controls can eliminate the need for any EQ on the instrument while recording, keeping the signal path short and pure.
  • The API 512c is a mic / line / instrument preamp, world famous for its ability to provide a low noise (-129 EIN) and unusually good sounding front end for all types of audio applications. Sonically, it delivers the distinct API sound at an affordable price, and in the scalable API 500 Series format. Offering an impressive 65 dB of gain, the 512c includes phantom power, switchable polarity, -20 dB pad and Mic or Instrument/Line selector. Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed into an API lunchbox®, API's 10 position 500V vertical rack, or an API console.
  • The API 512v is a mic / line / instrument preamp, world famous for its ability to provide a low noise (-129 EIN) and unusually good sounding front end for all types of audio applications. Sonically, it delivers the instantly recognizable API sound at an affordable price, and in the scalable API 500 Series format. Offering an impressive 65 dB of gain, the 512v includes front panel Variable Output control, switchable 3:1 output transformer selection, phantom power, switchable polarity, -20 dB pad, and Mic or Instrument/Line selector. The front panel Combo-style XLR and 1/4 inch connector combined with rear panel mic access allows for additional flexibility when installed into an API lunchbox®, API's 10 position 500V vertical rack, or into an API console.
  • Originally released in the 70's, the API 525 is a "feedback" type compressor. An input (threshold) control and output (make-up gain) control are provided, along with an additional "Ceiling" fine-tune function which 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. 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/pop reduction. The 525 design has been taken from the original blue prints and spec control drawings from the API archives.
  • The API 527A Compressor/Limiter takes its place alongside the family of API VCA-based compressors, including the 225L compressor and 529, 2500, and 2500+ stereo bus compressors. Anyone familiar with these units will immediately be at home with the 527A. The 527A Compressor/Limiter makes use of the 2510 and 2520 discrete op-amps and exhibits the reliability, long life, and signature sound which are characteristic of API products.

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