Outboard equipment plays a vital role in audio signal processing, offering versatile sound manipulation tools.
Our diverse selection of outboard gear allows you to enhance your audio with creative precision. Whether you’re working on dynamic processing, adding effects, or handling various audio applications, our range ensures effective and precise audio control, contributing significantly to professional audio production.
Outboard equipment plays a vital role in audio signal processing, offering versatile sound manipulation tools.
Our diverse selection of outboard gear allows you to enhance your audio with creative precision. Whether you’re working on dynamic processing, adding effects, or handling various audio applications, our range ensures effective and precise audio control, contributing significantly to professional audio production.
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.
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.
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.
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.
The new 529 Stereo Compressor combines the unmistakable sound of API's compression technology with the convenience and popularity of the API 500 Series format. Carefully designed to deliver a wide range of compression options, the 529 delivers warmth, clarity and punch, whether used for subtle adjustments or heavy compression effects.
Modeled after API's highly prized console-based 325 booster cards, the 535 can both amplify and attenuate incoming and outgoing signals for ultimate flexibility—all while providing API's trademark warmth and tone. The 535 excels at adding warmth to a variety of signals. Recommended uses include: • Warm up digital signals of all kinds • Add Tone to Keyboard rigs • Add warmth to any mix
The beginnings of the 5500 circuit can be traced back to the original 550 equalizer designed by Saul Walker, the founder of Automated Processes Inc. The 550 was designed as a console equalizer, which uses an unbalanced input due to the architecture of the recording console. Because the ergonomics of a console dictate that the controls take up little space, sometimes the number of included functions can be limited. The 5500 is specifically designed to address these limitations; it has a balanced input, a true straight-wire bypass, an integrated power supply with noiseless muting and a range control that expands its versatility to mastering applications.
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.
Based on API's original 550 from the late '60s, the API 550b is a continuation of the EQ that played a major role in the history of music recording, but with an 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 engineers around the world find it to be an invaluable tool. In fact, the 550b design has been taken from the original blue prints and spec control drawings from the API archives. It is unlike any other EQ you will ever use.
Originally conceived for use in API consoles of the '60s and '70s, the 560 is a unique device designed to accomplish tasks that no other EQ can. Extremely fast to set and reset using accurate zero detents, the curve shaping potential of the 560 remains unmatched. With a wide range of 500 mounting options, from racks to consoles, the 560 proves an invaluable asset to all critical performance applications. Based on API's original 560 EQ, the current production 560 has improved resolution in the ±4 dB area and possesses our exclusive circuitry and proprietary components, including the API 2520 Op Amp.
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.
The API 500-6B lunchbox is a 6-slot rack designed to accept all API standard 5.25" X 1.5" modules. This quality allows an engineer the flexibility to bring along specialized EQ effects to any situation: 550A, 550b or 560. The lunchbox has an internal power supply with a rear panel selected AC voltage switch and a removable power cord. The input/output jacks are XLR. The lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512c Mic Preamplifier. API makes several modules for the 500-6B, including the 512c Mic Preamplifier, the 525 Compressor, the 527 Compressor, the 550A 3-band EQ, the 550b 4-band EQ and the 560 Graphic EQ. Combinations of these modules make perfect stereo recording packages (two 512cs and two 550bs) or vocalist's box (one 512c, two EQs and one 527).
The new 8-slot lunchbox includes all of the features that have made the 6-slot lunchbox (500-6B) so well regarded in the industry, including DB-25 (D-Sub) connectors for easy I/O, universal power supply (100 or 250V, 47 to 63Hz), phantom power, and easy rack-mounting with optional rack-ear kit. Built for robust performance, with new toggle switches for channel linking. The lunchbox gives an engineer the flexibility to bring along specialized EQ effects to any situation: 550A, 550b or 560. The lunchbox utilizes an external power supply. API makes several modules for the lunchbox, including the 512c Mic Preamplifier, the 525 Compressor, the 527 Compressor, the 550A 3-band EQ, the 550b 4-band EQ and the 560 Graphic EQ. Combinations of these modules make perfect stereo recording packages (two 512cs and two 550bs) or vocalist's box (one 512c, two EQs and one 527).
The Channel Strip is a complete input module with mic pre, dynamics processing, precision EQ and output level control. With extensive signal metering, multiple balanced insert points and an output mute switch, The Channel Strip contains the best features of a large console input channel in a single rack space. It's the perfect choice for anyone looking for that high-performance API console sound.
The E12G was designed for the need for a high quality graphic equalizer in a 500 series module format. Its ease of use for sound shaping and frequency correction during tracking makes the E12G an indispensable tool in the studio. There are no IC chips in the frequency bands, as customary of other graphic eq designs. Instead of IC’s, the use of Class A preamps for each band was designed to keep your music from sounding “processed”, and help to bring out every detail of harmonic richness captured by the microphone and a high-end mic preamp. Additional frequencies 12kHz and 22kHz was chosen to fill a void in the high frequencies, not found in other graphic equalizers. The Ingenius® input stage, designed by Bill Whitlock of Jensen Transformers®, provides clarity and performance found in high end input transformers.
The E27 was created for the need of a high quality modular equalizer. High performance, versatility, ease of use, and simplicity is the initial core of the E27’s design. Some of the best analog gear from the past was the inspiration for its character in sound. Outstanding quality and most suitable parts are used throughout – gold-plated switches, high performance capacitors, high-quality transformers, and custom machined aluminum knobs.
The MA5 was created to fill the need for a high-quality microphone preamplifier with the characteristic sound of early ‘70s British Class-A consoles. The re-engineering in the creation of the MA5 stemmed from years of experience restoring both American and British modules, deeply rooted in classic transformer-balanced, discrete electronics. Only the best and most suitable components are used throughout, regardless of cost, to attain the best sound.
All discrete op-amp based preamplifier with Jensen® Transformers, Send and Return/DI for adding external effects.
The new 1066DL is based on the classic 1066, which features the same mic-line pre-amplification stage as the 1073, but features different frequency selections in its EQ for a whole new sonic palette. The available frequencies on the 1066 are especially well suited to guitar applications because of its unique midrange.
The BAE 1073 is as authentic as you can get to the original, featuring the same St Ives (Carnhill) transformers as the vintage modules, Elma switches and Canford wire.- The BAE 1073 is as authentic as you can get to the original, featuring the same St Ives (Carnhill) transformers as the vintage modules, Elma switches and Canford wire.
The 1073D (Deluxe) is essentially a 1073 module with extra high frequencies and a direct input for the 500 series market. Built using the same exact parts as the 10 series module, the 1073D features Carnhill transformers, Elma gold plated switches and Canford wire making this the best sounding Class A mic‐pre EQ module on the block.
This is the mic pre-amp version of the 1073 equaliser having the same well-known characteristic Class A sound with its harmonically rich low end, slight resonant highs, and maintained focused mids.-
This is the mic pre-amp version of the 1073 equaliser having the same well-known characteristic Class A sound with its harmonically rich low end, slight resonant highs, and maintained focused mids. 
The BAE 1084 is as authentic as you can get to the original, featuring the same St Ives (Carnhill) transformers as the vintage modules, Elma switches and Canford wire.- The BAE 1084 is as authentic as you can get to the original, featuring the same St Ives (Carnhill) transformers as the vintage modules, Elma switches and Canford wire.
The 312A is available as a 500 series module or a single or dual channel 19" rackmount. Because there are no capacitors in the audio path, the 312A is super fast and punchy, allowing transients to pass easily, making them a favourite for drummers. Made with the highest quality parts including Jensen input and output transformers and the BAE 2015 opamp. The 312A also includes a high impedance DI for instruments.
The Bricasti Design Model 7 provides the highest level of musicality and ease of control imaginable in a processor dedicated to the task of reverberation. A modern high resolution digital design, utilizing a stunning array of the latest DSP processors, provides a platform for the long overdue next step in reverb processing algorithms. A separate fully differential analog section and dedicated transformer based linear power supply provide the finest analog specifications of any product of its kind. An exceptionally strong stainless-steel chassis, and a tooled aluminum front panel, combine with a classic high visibility display and straight forward human interface, to complete an enduring design that is intended to fulfill its role, now and into the future. Each design element of the Model 7 is a carefully considered statement of our vision of what the evolution of reverberation processing in its most classic form can be. With a deep appreciation of the best designs which precede it, and a passion for moving the science of reverberation forward, the Model 7 provides a palette of sounds that encompass the familiar as well as new expressions in the art. Listen to the new reference in reverb processing; it will bring new life to your art, in a way unimagined by any process before it.
The Bricasti Design Model 10 remote console is a dedicated hardware remote controller for use with the M7 stereo reverb processor. Following the same design criteria as the M7, the M10 casing is manufactured and milled from solid anodized aluminum, for an enduring design and long life. The M10 is also designed to be simple to use, and easy to interface, utilizing a standard RS422 serial interface. In application, it can be very useful when using more than one M7 or when there is a need to be more in the sweet spot when making adjustments in a large mixing environment.