Series 500

Sculpt instruments, enhance busses and fine-tune mastersULTRAVIOLET Stereo Equaliser (UV EQ) takes the acclaimed minimum phase-shift Violet stereo EQ section from Fusion and puts it into 500-series format, whilst adding two fully parametric SSL mid-band EQ's featuring precision 'Focus' mode for the ultimate in 500 Series EQ flexibility and tonal control. UV EQ is the perfect partner for the SSL G-COMP Stereo Bus Compressor module, offering advanced SSL processing all from 500 Series modules. Features4-band Stereo EQHigh and low shelving bandsMinimum-phase design inherited from FusionDual fully parametric mid-bandsPrecision 'Focus' mode High-Pass Filter at key fixed frequenciesDedicated output TrimSurgical precision to creative colour  Beyond Violet is ULTRAVIOLET Over and above Fusion's Violet EQ, UV EQ takes features further, adding two dedicated mid-bands, with precision Focus mode. They're classic SSL parametric mid-bands capable of the traditional SSL processing techniques but also go far beyond, offering absolute surgical precision all the way to creative 'notch' style filtering and resonant screaming. Focus modeFocus mode allows users to ‘hone in’ on problem frequencies or specific frequencies they want to accentuate or attenuate. Pressing the ‘Focus’ switch in, automatically narrows the chosen Q setting further and increases the range of gain available beyond the normal +/-9 dB operation, to a huge +/-18 dB. In true flexible SSL workflow fashion, it transforms this sweet sounding, musical SSL EQ into a more surgical tool.HPF & TrimRemove rumble and tighten up low frequencies, the HPF found on UV EQ brings a world of flexibility when processing low end. The interaction with LF shelving band offers unique ways to sculpt signals and yes, UV EQ is capable of the sought after boost + cut effect. Dedicated Trim control means you can hit convertors with plenty of headroom or smash into them the perfect amount when clipping is desired.

Glueing mixes together for 40+ yearsThe legendary sound of the SSL Stereo Bus Compressor has been glueing mixes together for 40+ years. Often imitated but never equaled, the centre section compressor from the 1980's Solid State Logic G-Series analogue console is an audio production legend. It is a simple unit with a simple purpose; it makes complete mixes sound bigger, with more power, punch and drive.FeaturesLegendary SSL G Series Stereo Bus CompressorTHE glue and punch makerAdditional compression ratio settings 1.5 / 3 / 10Renowned ‘Auto’ releaseHPF in sidechain switchable to 30Hz / 60Hz / 106Hz / 125Hz / 185HzSidechain In / Out switchTurns a mix into a recordThe Stereo Bus Compressor brings cohesion and strength to your mix unlike any other processor. To this day it remains a key element of the SSL sound and has become not just a tool for production but a part of top engineers and producers creative process.  

Ultra-clean to heavy distortion...You decideThe VHD+ Pre Module for the popular 500 format modular rack platform makes the uniquely versatile VHD based preamp technology from Duality, SSL's industry leading large format studio console, available for studios of all sizes. The VHD+ Pre module is an immensely versatile recording and processing device. It can deliver ultra clean SSL SuperAnalogueTM grade recordings but also features a switchable VHD mode. SSL's patented Variable Harmonic Drive (VHD) system uses a 100% analogue signal path to generate rich harmonic distortion.Increase VHD input gain and the Variable Harmonic Drive process introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes, until at high gain settings it delivers fierce trashy transistoresque grunge.The VHD+ Pre module gives the user ultimate versatility from a studio grade preamp. Whether it's ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion, VHD will change your expectations of what a preamplifier should deliver.Key featuresSSL SuperAnalogueTM grade preamp2nd order harmonics (valve warmth to extreme distortion)3rd order harmonics (transistor edge to totally trashed)Absolute control via 2nd and 3rd order harmonic blendVariable Harmonic Drive (VHD) in/out switchSwitch-able LF Filter+48V phantom powerPhase invert switchPAD switchHi-Z switch

Loved by Generations of Professional ProducersThe E-Series EQ 500 series module reproduces the legendary sonic signature of an early 80's classic, the equaliser section of the Solid State Logic SL 4000 E console channel strip, which has featured on countless classic recordings from the 1980's to the present and shows no sign of stopping. The 611 design E-Series EQ also feature on Solid State Logic's latest audio production console, ORIGIN. FeaturesImmortal SSL 4000 E Series circuitry"Black-242" and "Brown-02" twin EQ designVersatile 4 band channel EQBell curve option on HF and LFFully parametric LMF and HMF with QBased on classic 611E console channel stripUnique response & tonal characterThe E-Series EQ Module features two different EQ's found on editions of the console produced between 1981 and 1989. Each EQ has unique response curves and tonal character. Historically the type of EQ fitted in an individual console was distinguished by the colours used on the LF knob caps so the two flavours have become known as the 'Brown' and 'Black' EQ's. On the E Series EQ Module you can switch between these two different flavours of EQ that have been loved by generations of professional producers. 

Legendary sonic signature of the SL 4000EThe new E Series Dynamics Module for 500 Series racks reproduces the legendary sonic signature of an early 80's classic, the SL 4000 E console channel strip, which was featured on countless 1980's recordings. The E Series Dynamics Module features a compressor/limiter and an expander/gate, both of which return faithfully to the circuitry and key components which define the sound of the original SL 611E Series channel strip.FeaturesImmortal SSL 4000 Series circuitryClass A VCA replicationExpander/GateBased on classic 611E console channel stripChannel compression in 500 seriesA true RMS converter is used in the side chain while the gain element is an all discrete design identical to the Class A VCA chip used in the original unit. The compressor contains additional switching options to defeat the over-easy curve and to use a linear release instead of the more usual logarithmic curve. The result is a compressor with three distinct voices, each with its own musical character.

Deceptively simply, extremely effective SiX Channel Strip (SiX CH) is a single-width 500 Series channel strip using the SuperAnalogueTM channel processing features from SSL’s SiX console including the Mic-pre, low and high frequency EQ, as well as the single knob compressor.FeaturesSSL SuperAnalogueTM  mic pre+48V phantom powerPhase invert switch5 segment LED meter in dBuSwitched 12 dB/oct, 75 Hz High Pass Filter (HPF)Classic SSL HF and LF EQSwitch from shelf to bell curveSingle knob Channel Compressor with variable Threshold.Front Panel TRS Line Input with 1MΩ Hi-Z switch.SuperAnalogue Using the same technology as SiX and large-format SSL consoles, SiX CH features a SuperAnalogueTM mic pre, offering wide gain range and ultra-low noise. It’s clean, fast and punchy - the perfect preamplifier for any source material.SSL HF and LF EQSiX CH EQ is a classic SSL style gentle, broad stroke two-band design with high and low shelving filters at 3.5 kHz and 60 Hz, +/-15 dB gain range. Each band can be independently switched between shelving and bell curves. The bell curves change centre frequency to operate at 5 kHz and 200 Hz giving greater versatility from the two controls.Channel compressor A ‘one knob’ channel compressor with features that give powerful and versatile performance from its deceptively simple controls. Using the tried and tested SSL feed-forward circuit design, program-dependant attack time and automatic make-up gain to maintain signal level.TRS Line Input The front facing TRS line input offers a convenient way to add instruments on the fly or use SiX CH as a feature packed summing module. 10 kΩ nominal Line Input impedance can be changed to 1 MΩ via the Hi-Z switch. The 1MΩ impedance makes this input suitable for very high impedance sources such as passive guitar pickups without the need for an external DI box.

Chandler Limited's Little Devil Equalizer fits into any 500-series module, putting Chandler's all-discrete circuitry, transformer-balanced designs, and premier hand-made quality into the popular modern format. The Little Devil Equalizer is an English-style console EQ, which uses concepts from famous 1081 and 33115 vintage units. Its features a treble and bass shelf with +/- 18dB, with treble set to 12k and bass selectable between 50 and 110Hz. Hi-mid and lo-mid offer +/-18dB, with 7-selection "Q" switching on each band. There's also a 3-position filter and hardwire bypass onboard the Chandler Limited Little Devil Equalizer.Chandler Limited Little Devil Equalizer Module at a Glance:If you like fat and punchy sounds, you'll love the Little Devil EQYour sonic obsession: Chandler's missionVintage EQ for your 500 Series rackIf you like fat and punchy sounds, you'll love the Little Devil EQChandler Limited's Little Devil 500 Series Equalizer is an ideal go-to EQ for in-your-face snares and fat, punchy kick drums. In fact, it sounds great on everything. It delivers rich-sounding and distinctively vintage-flavored EQ, while giving you the modern control you need to sculpt your sound precisely. Designer Wade Goeke's number one rule is that he would not make anything he wouldn't put in his own rack. We'd add that the Little Devil EQ is definitely a piece you want in your rack.Your sonic obsession: Chandler's missionRecording engineers are always looking for fresh tonal colors and approaches when tracking - it's an obsession. Chandler feeds this addiction with their innovative take on the technologies of the past. They start with painstaking component selection. The Little Devil EQ's parts list reads like a 40-year-old document. Seriously - they just don't build 'em this way anymore. Hand-wired and assembled in the USA, the Little Devil EQ utilizes 100% discrete transistor circuitry and specially wound transformers. Aside from the fact that you'll have this puppy forever, the weapons-grade build quality is a means to an end - the sound. Glorious, fat, supremely musical sound, with amazing headroom. Stock your arsenal with the Chandler Limited Little Devil 500 Series Equalizer.Vintage EQ for your 500 Series rackChandler Limited's collection of EQs, compressors/limiters, and preamplifiers are among the best in the industry. Indeed, Chandler Limited's innovative Germanium Series uses classic, smooth-sounding germanium transistors - like those found on the earliest Neve, EMI, Telefunken, and Fairchild units - to effectively revive that warm vintage sound palette. What's more, in addition to fantastic outboard gear, Chandler offers up classic sounds in plug-in form with their spot-on emulations of the legendary Abbey Road console. When you want a vintage touch brought to your modern recordings, trust Chandler Limited.Chandler Limited Little Devil Equalizer Module Features:English-style console Equalizer moduleTreble and bass shelf +/- 18dBTreble set to 12k, bass selectable between 50Hz and 110HzHi- and Lo-mid +/-18dB, with 7-selection "Q" switchingHi-mid - 8k2, 6k8, 5k6, 5k7, 3k3, 2k7, 1k2Lo-mid - 820, 560, 470, 390, 330, 270, 2203-position filter - 47, 82, and 150HzHardwire bypassRuns on any 500 series rack and Power Supply Unit

Chandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios. So if you want the rich, warm, punchy sound of the "Curve Bender" EQ used on the Beatles' legendary Abbey Road album and Pink Floyd's Dark Side of The Moon in the convenient 500 Series format, the Chandler Limited TG12345 MKIV equalizer is the way to go. This handmade, fully discrete, single-width module draws its heritage from the channel EQs found on historic EMI TG12345 recording consoles of the late 1960s and early ‘70s. Featuring presence and bass bands with continuous boost/cut and true bypass, the Chandler Limited TG12345 MKIV puts the sweet sound of a legend in your 500 Series rack.Sweet broadband sound shapingAs a 2-band equalizer, the Chandler Limited TG12345 MKIV is not designed for surgical sound sculpting. For broadband sound shaping, however, Sweetwater considers it in a class by itself. Its control set may seem minimalist, yet it offers a reasonable amount of flexibility. The presence band is switchable between eight frequencies and an Out position. The first seven frequencies, from 500Hz to 6.5kHz, are bell curves; the eighth is a shelf at 10kHz. The bass band is shelving, with two frequency options: 90 and 150Hz.The sound of a legendThe groundbreaking sound quality of the EMI TG12345 recording console, dramatically richer and more highly detailed than the tube consoles it replaced, left its mark on legendary albums by the rock royalty of the era, including the Beatles and Pink Floyd, as well as solo outings by John Lennon, Paul McCartney, and George Harrison. Never commercially available, the TG12345 desks were retired from service in 1983. But the legend lives on — in the Chandler Limited TG12345 MKIV.Chandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD and RS and their associated logos are trademarks of EMI (IP) Limited.Chandler Limited TG12345 MKIV 500 Series EQ Features:Inspired by the channel EQs from historic EMI TG12345 consoles of the late '60s and early ‘70s2-band equalizer with presence and bass bands with continuous boost/cutPresence band switchable between eight frequencies and OutPresence bands are bell curves, except the highest (10kHz), which is shelvingBass band is shelving, with two frequency options: 90 and 150HzTrue bypass

Chandler Limited is the only company in the world authorized to develop, manufacture and market the “Official Equipment” of EMI/Abbey Road Studios. So if you want the rich, warm, punchy sound of the optical compression used on the Beatles' legendary Abbey Road album and Pink Floyd's Dark Side of The Moon in the convenient 500 Series format, the Chandler Limited TG Opto is the way to go. This handmade, fully discrete, double-wide module draws its heritage from the EMI TG12413 compressor found on historic EMI TG12345 recording consoles of the late 1960s and early ‘70s. Featuring selectable sharp and rounded knees; continuous controls for input, attack, release, and output; and true bypass, the Chandler Limited TG Opto puts the sweet sound of a legend in your 500 Series rack.Aggressive or unobtrusive: the choice is yoursAt Sweetwater, we appreciate the TG Opto's dual personality. A choice of sharp or rounded knees gives you control over how aggressively the Opto compresses your signal. With the Knee control switch set to sharp, the Opto can deliver explosive drum sounds; set to rounded, it's capable of subtle dynamics control. Continuous controls for input, attack, release, and output (makeup gain) let you fine-tune compression for excellent results with a broad variety of sources.The sound of a legendThe groundbreaking sound quality of the EMI TG12345 recording console, dramatically richer and more highly detailed than the tube consoles it replaced, left its mark on legendary albums by the rock royalty of the era, including the Beatles and Pink Floyd, as well as solo outings by John Lennon, Paul McCartney, and George Harrison. Never commercially available, the TG12345 desks were retired from service in 1983. But the legend lives on — in the Chandler Limited TG Opto.Chandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD and RS and their associated logos are trademarks of EMI (IP) Limited.Chandler Limited TG Opto 500 Series Compressor Features:Inspired by the EMI TG12413 compressor in historic EMI TG12345 consoles of the late '60s and early ‘70sSelectable sharp and rounded knees for aggressive or subtle compressionContinuous controls for input, attack, release, and output (makeup gain)Vintage styling and VU meterTrue bypass

Chandler Limited's Little Devil Compressor fits into any 500-series module, putting Chandler's all-discrete circuitry, transformer-balanced designs, and premier hand-made quality into the popular modern format. The Little Devil Compressor is a FET compressor, which uses concepts from Chandler's famous Germanium Compressor and the Neve 2264 compressor. Its input control features a curve selection, with germanium diode knees. There are also a gain makeup control, a 3-position attack control, a flexible sidechain filter, and full hardware bypass on the Chandler Limited Little Devil Compressor.Chandler Limited Little Devil Compressor Module Features:FET compressor moduleInput control and curve selection with zener and germanium diode kneesGain make-up controlAttack control and 3-position ratio controlSidechain filterTHD selectionRelease controlFull hardwire bypassRuns on any 500 series rack and Power Supply UnitBring Chandler Limited's vintage-flavored compression to your 500 series rack, with the Little Devil Compressor!Quality Module from Chandler LimitedChandler Limited's collection of EQs, compressors/limiters, and preamplifiers are among the best in the industry. Indeed, Chandler Limited's innovative Germanium Series uses classic, smooth-sounding germanium transistors - like those found on the earliest Neve, EMI, Telefunken, and Fairchild units - to effectively revive that warm vintage sound palette. What's more, in addition to fantastic outboard gear, Chandler offers up classic sounds in plug-in form with their spot-on emulations of the legendary Abbey Road console. When you want a vintage touch brought to your modern recordings, trust Chandler Limited.

The Chandler Limited Little Devil 500 Series Preamp gives you a warmth and a range of tone that will add instant vitality to your tracks. As a preamplifier, the Little Devil 500 Pre gives you a solid Class A boost, hot enough for low-output mics, including ribbons. Dial in the feedback, and the Little Devil 500 Pre springs to life, morphing smoothly through a wide range of detail that you can use to get exactly the character you need. The way the Little Devil Pre enhances and smoothes out harsh transients also makes it an ideal color box for line-level sources, and the front-panel DI makes it perfect for direct bass and guitar as well. With all this going for it, the Chandler Limited Little Devil Preamp is a no-brainer addition to your 500 Series rack.Chandler Limited Little Devil 500 Series Preamp at a Glance:Flexible input routingPowerful tone sculpting toolsYour sonic obsession: Chandler's missionFlexible input routingThe flexible input options of the Chandler Little Devil 500 Pre will save you time and effort getting everything set up. You can use either XLR or TRS cables for connecting to the pre, and you can select whether the inputs are high or low impedance. The Little Devil Pre offers up to 66dB of gain to really push your signal. Power your favorite condenser mics with the built-in 48V phantom power supply.Powerful tone sculpting toolsThe Chandler Limited Little Devil 500 Pre is also a powerful tool for sculpting the tones you want for your tracks. The bright switch and low cut filter let you sculpt the highs and lows of your signal, and the phase control, well, flips the phase. You'll love the big and open sound of the Little Devil's Class A design. A Feedback/Bias control gives you the ability to change the the way the amplifier reacts. You can increase the harmonic range and the nature of clipping and distorion by simply rotating a knob. You can dial in soft Class A clipping to gushy tube type clipping.Your sonic obsession: Chandler's missionRecording engineers are always looking for fresh tonal colors and approaches when tracking - it's an obsession. Chandler feeds this addiction with their innovative take on the technologies of the past. They start with painstaking component selection. The Little Devil Preamp's parts list reads like a 40-year-old document. Seriously - they just don't build 'em this way anymore. Hand-wired and assembled in the USA, the Little Devil Pre utilizes 100% discrete transistor circuitry and specially wound transformers. Aside from the fact that you'll have this puppy forever, the weapons-grade build quality is a means to an end - the sound. Glorious, fat, supremely musical sound, with amazing clarity and headroom. Stock your arsenal with the Chandler Limited Little Devil 500 Series Preamp.Chandler Limited Little Devil 500 Series Preamp Features:48V phantom power66dB of gainSelectable impedanceBalanced mic or line inputsLow Cut switchBright switchPhase switchFeedback/Bias control

The Chandler Limited Germ 500 MkII 500 series preamp gives you classic Germanium Pre Amp sound in a conveniently modular format. From Neve to Fairchild, it's no wonder that germanium transistors have been used in some of the greatest audio gear of all time. That's why Chandler decided to build their Germanium series around this tried-and true technology. And with the Germ 500 MkII, you can put this same sound right in your 500 series rack. Discover the secret weapon many of today's top engineers swear by, order your Chandler Limited Germ 500 MkII 500 series preamplifier today!Chandler Limited Germ 500 MkII 500 Series Preamplifier at a Glance:Feedback control lets you dial in the perfect toneThick setting lets you add extra dimension to your soundTime-tested Germanium soundFeedback control lets you dial in the perfect toneThe Germ 500 MkII's Feedback control is the key to its incredible tone-shaping ability. Like all amplifiers, the Germ 500 MkII uses feedback (the process of feeding the output signal back into the input of the amplifier) to boost gain. But unlike typical preamplifiers, Chandler Limited's Germ 500 MkII lets you control the amount of signal that's fed back. The Feedback control affects more than just gain, it alters the overall character of the unit, including its total harmonic distortion and frequency response, allowing you to perfectly sculpt the contour of your tone.Thick setting lets you add extra dimension to your soundOne of the features that makes Chandler Limited's full-sized Germanium Pre Amp stand out is its Thick function, which is why they chose to include it when they designed the Germ 500 MkII. This subtle tone-shaping control makes the Germ 500 MkII perfect for adding a gentle low-end swell to sources that sound weak or thin. You'll particularly love the way the Germ 500 MkII's Thick function adds weight to the sound of guitars.Time-tested Germanium soundEquipped with genuine germanium-transistor-based Drive and Feedback circuits, the Germ 500 MkII lets you dial in luscious lows and creamy highs. Germanium transistors have been instrumental in the most revered preamplifiers and signal processors for decades. That's why Chandler Limited uses germanium transistors in many of their most popular models. With a Germ 500 MkII, that same signature sound is more accessible than ever before!Chandler Limited Germ 500 MkII 500 Series Preamplifier Features:The sound and functionality of a Chandler Germanium Pre Amp, in a handy 500 series modular formatClass A, germanium-transistor-based drive and feedback circuits for genuine Germanium toneAn impressive 65dB of total amplification lets you use an kind of microphone, even low-output ribbonsFeedback control allows you to dial in the tonal contour, letting you control the character of your soundThick control introduces a subtle rise to your low end - perfect for adding girth to guitar toneFront-panel instrument input provides easy access for tracking guitar and bass-15dB pad switch provides a total of 70dB of dynamic range

The Chandler Limited TG2-500 500 Series mic/line preamp module is a spot-on re-creation of the rare EMI TG12428, found in the recording and mastering consoles of EMI (and later Abbey Road) studios in the late '60s and early '70s. The TG2-500 is built using the original TG12428 schematics. Put the sound of the preamp used in such iconic recordings as The Beatles' Abbey Road and Pink Floyd's Dark Side of the Moon in your 500 Series rack. Order your TG2-500 from Sweetwater today!Chandler Limited TG2-500 500 Series Mic/Line Preamp at a Glance:There's history behind this amazing-sounding preYou get warmth and punch - plus an open, airy high endPut this in your rack and brace yourself for some serious toneThere's history behind this amazing-sounding preThe Chandler Limited TG2-500 500 Series module is a re-creation of the rare EMI TG12428 preamp fitted in EMI/Abbey Road recording and mastering consoles of the late '60s and early '70s. This instantly identifiable sound was used on many legendary Abbey Road recordings, including The Beatles Abbey Road and Pink Floyd Dark Side of the Moon.You get warmth and punch - plus an open, airy high endThe Chandler Limited TG2-500 500 Series preamp module incorporates the same discrete transformer-balanced amplifiers as the TG Series limiter, giving you a creamy, smooth tone with an open, airy high end. The sound, as described by many users, is imbued with vintage warmth and punch - but with a more open top end. The unit does indeed have a small rise in its high frequency response, along with some warmth-inducing distortion which contribute to its unique, punchy sound.Put this in your rack and brace yourself for some serious toneChandler Limited's TG2-500 500 Series preamp was built from the original EMI TG12428 design notes and circuit board drawings provided by Abbey Road and EMI. With a genealogy like that, this preamp's a no-brainer. When you plug into the Chandler Limited TG2-500 Abbey Road Special Edition preamp, you plug into the sound behind some of the most memorable recordings in classic rock history. Put one (or more) of these preamps in your 500 Series rack and brace yourself for some serious tone.Chandler Limited TG2-500 500 Series Mic/Line Preamp Features:Topology based closely on the original EMI TG12428 at EMI/Abbey Road studioDiscrete transformer-balanced amplifiers produce a warm tone with clear highs and rich lowsInput gain ranges from +20dB to +50dB48V phantom power, phase reverse, and an impedance switchImpedance switch toggles between 300 ohms and 1200 ohms, to match any micChannel output gain control lets you run the input gain hot for extra colorRequires compatible 500 Series chassisChandler Limited and their associated logos are registered trademarks of Chandler Limited, Inc. Abbey Road Studios, EMI, TG, REDD, RS and their associated logos are trademarks of EMI (IP) Limited.

Rupert Neve Designs 551 Inductor EQ; 3-band inductor eq (500 series); low eq: +/- 15db shelf or peak, selectable for 35hz, 60hz, 100hz or 220hz; mid eq: +/- 15db with 6 center frequencies: 200hz, 350hz, 700hz, 1.5khz, 3khz and 6khz; with high; peak switches to amplify the q factor; hishelf: +/- 15db shelf or peak, selectable for 8khz and 16khz; locut: 12db / octave at 80hz; rupert neve custom transformer; Format: API Series 500 Rack

Transient Designer Module The Transient Designer TDx brings level-independent dynamics processing to the world of the 500 Series. On/Bypass With On/Bypass you switch the module on or off (bypass). Signal LED The Sig LED (Sig) indicates whether an audio signal is present at the input and exceeds a level of -20 dB. This LED indicator is used as an aid to quickly identify whether a signal is arriving at the TDx in a complex studio cabling system. Attack Attack can be used to boost or cut the transient phase of a signal by up to 15 dB. Positive attack increases the amplitude of the transient response. Negative attack attenuates the amplitude of the transient response. Sustain With Sustain you can lengthen or shorten the decay phase of a signal by up to 24 dB. Positive Sustain extends the decay. Negative Sustain shortens the decay. Mix The mix control allows for continuous crossfade aka parallel mix between processed (WET) and unprocessed (DRY) signals. Output With the output control the output gain can be attenuated in order to optimally drive subsequent devices. The Differential Envelope Technology Our Differential Envelope Technology (DET) allows dynamic signal characteristics to be processed by forming the difference between envelopes and thereby making them level-independent. The envelope trackers align the working processes with the natural signal characteristics. This ensures optimum results for every moment.  Specifications:  Input & Output: balanced Maximum input & output gain: 21 dBu Input impedance: 20 kΩ Output impedance: 150 Ω Common mode rejection: > 82 dB Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (0 dBu, 10 Hz – 22 kHz): 0.03 % Noise (A-weighted): -92.3 dB Dynamic range: 113 dB Dimensions & Weight Unit weight: 0.65 kg Shipping weight (incl. packaging): 0.9 kg

Dual-Band De-Esser Module Our well known De-Esser as a dual-band version built into a single module for the 500 Series. On/Bypass With On/Bypass you switch the module on or off (bypass). Signal LED The Sig LED (Sig) indicates whether an audio signal is present at the input and exceeds a level of -20 dB. This LED indicator serves as an aid to quickly recognize whether a signal is arriving at the DeS in a complex studio cabling system. Hi-S The Hi-S control adjusts the intensity of the S sound reduction in the upper frequency band. The center frequency for sibilance detection is 11.2 kHz with a bandwidth of 3 kHz. Lo-S The Lo-S control adjusts the intensity of the S sound reduction in the lower frequency band. Male/Female Voicing The Voice switch is used to adjust the low-band de-esser to the voice characteristics. The switch changes the center frequency for the sibilance identification: Female: 7.6 kHz, Male: 6.4 kHz. The processing bandwidth in the low band is 1.44 kHz. De-Esser Tech Talk De-Essing by Phase Cancellation SPL has developed a circuit technology that combines efficient de-essing with maximum ease of use. De-essing already during recording spares a lot of time in comparison to the subsequent search for the S-sounds in post production. The DeS automatically adjusts itself to the relevant frequencies and hones in on them so that only the range of the S-sound is processed and neighbouring frequencies remain untouched. This range is phase-inverted and mixed back into the original signal, which acoustically deletes the S-sound. The DeS therefore works unobstrusively and sound-neutral. Auto-Threshold The DeS features our Auto-Threshold which automatically adjusts the threshold if the input level fluctuates due to varying distance to the microphone which leads to fluctuating input levels. With Auto-Threshold engaged, the de-essing intensity remains constant at the value you set – a great help not only for untrained speakers/singers in the studio and live. With conventional de-essers using compressor technology, the processing intensity decreases as the distance to the microphone increases to which compressors or limiters then react by letting the S sounds reappear. The disadvantage of weaker de-essing – bad enough in itself – therefore also leads to undesired effects in the subsequent processing. Auto-Threshold prevents these disadvantages from occurring in the first place. Specifications: Input & Output: balanced Maximum input & output gain: 21 dBu Input impedance: 20 kΩ Output impedance: 150 Ω Common mode rejection: -82 dB Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (0 dBu, 10 Hz – 22 kHz): 0,03 % Noise (A-weighted): -92.3 dB Dynamic range: 113 dB Dimensions & Weight Unit weight: 0.65 kg Shipping weight (incl. packaging): 0.9 kg

Our Frame 8 rack is handmade in the EU employing the same exact ISEP mechanical components used in the Series 80 consoles. Aluminium rails, guides, etc. This will ensure your vintage modules, as well as any of the currently made, will fit like a glove. Every channel has its own output control as well as illuminated phantom switch. Also, the Frame 8 is ready for linking up to 8 2264 compressors in 2 busses, A or B. Back panel features Neutrik gold plated XLR connectors for Mic and Line inputs, as well as outputs. External Power Supply Unit is connected via Neutrik gold plated 4-pin XLRs. It is configurable for 220-240v or 110v. Power supply is included.

The 8173 module is a Heritage Audio´s new design, which has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. It is also compatible with the Heritage Audio Frame 8 and Rack 2 powered enclosures. The 8173 could be easily described as a 1073 with the mid bands of a 1081. We´ve decided to keep the 1073 Baxandall shelving lo and hi eq bands as they sound amazing, but have implemented a choice of 3 hi shelving frequencies, a la 1084. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements. The Heritage Audio 8173 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. All its circuitry is held into five plug in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for lo gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

The Heritage Audio 2264E compressor limiter is a diode bridge based dynamics module, engineered to be used in the restoration process of vintage 80 Series consoles. It can also be installed in the Heritage Audio Frame 8 and Rack 2, where there is provision for linking up to 8 units in 2 different buses. It is fully Class A, including the same output stage found in the HA1073, which reacts in a much nicer way to compression than class A/B amplifiers. It is completely handmade and wired in the same fashion as the rest of the Heritage Audio 80 Series modules. Specifications: Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, 600 Ohms terminated. Maximum output: Greater than +26dBu, 600 Ohms terminated. THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz, at no gain reduction. Frequency response : 20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: 20dB. Maximum Power consumption: Less than 120 mA @+24VDC.

The  6673 module is a Heritage Audio´s new design which has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. It is also compatible with the Heritage Audio Frame 8 and Rack 2 powered enclosures. The 6673 is a 4 band equalizer in a 1073 sized module, combining the mid band of the vintage 1066 module and an expanded 1073 mid band. This fact allows a more complex equalizing whilst at the same time maintaining the same sonic qualities. Vintage connoisseurs already know how sweet the 1066 mid band sounds and how well it complements the 1073´s one. Additionally the 6673 features three frequency´s options for the high shelf, as opposed to the fixed ones on both the 1073 and 1066, covering both. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements. The Heritage Audio 6673 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. All its circuitry is held into five plug in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for lo gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

The Heritage Audio 1084 has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. It is also compatible with the Heritage Audio Frame 8 and Rack 2 powered enclosures. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements. The Heritage Audio 1084 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. All its circuitry is held into five plug in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for low gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

The Heritage Audio 1073 has been engineered to fill input module slots in the restoration process of vintage 80 Series sound mixing consoles. In case outboard fitting is preferred, the HA1073 can be installed into the Heritage Audio Frame 8 and Rack 2 powered enclosures. Special care has been taken in sourcing the correct components that ensure performance will be as close to a 1070s unit as it is possible nowadays. Custom polystyrene and polypropylene film tone capacitors have been developed to closely match the Siemens Styroflex and Mullard Mustard types of the late 60s and early 70s. Custom input transformers have also been co designed with Carnhill Transformers´ Oxford factory to our special requirements, which ensure correct harmonic distortion content and saturation points. The Heritage Audio 1073 is entirely handmade in our facilities in Spain, employing the same old-fashioned wiring and soldering techniques of the 70s. Manufacturing a single module takes several days of one of our master builders. All its circuitry is held into four plug-in cards. Specifications: Microphone input impedance: HI, 1200 Ohm minimum, LO, 300 Ohm minimum. Higher gain positions gradually have greater impedances, optimum for low gain ribbon mics. Input is transformer balanced and floating. Line input impedance: 10KOhms bridging, transformer balanced and floating. Output impedance: Less than 75 Ohms, transformer balanced and floating, to drive a load of 600 Ohms. Maximum output: Greater than +26dBu into 600 Ohms, THD: Less than 0.025% at 1Khz, Less than 0.05% at 100Hz. Frequency response :20Hz (+0.3dB) to 20Khz (-0.2dB). Maximum Gain: Slightly greater than 80dB. Noise: Less than -100dBu. Power consumption: Less than 110 mA @24VDC.

A lot of preamps on the market do a good job of raising the volume of mics and instruments. Unfortunately, many pres are doing only that, raising volume.  The “Super clean” designs of today often leave the signal exiting the preamp sounding much the same as it did entering it.If you are looking for a preamp to improve and shape your signal you will most definitely love the WA12-500 MKII. The WA12-500 MKII is designed to transform plain instruments and vocals into exciting tone.  If your mixes lack depth, struggle to sound alive, or are just missing that professional touch you’ve always wanted, there is a good chance you will love the WA12-500 MKII.The WA12-500 MKII is a completely discrete, high voltage, dual-transformer microphone preamplifier design with high gain (+71dB), high headroom, low noise, and an exciting sonic performance – great for all types of recording applications.  A high quality mic preamp is one of the most critical pieces needed to achieve the elusive ‘larger than life’ sound, and the WA12-500 MKII is more than capable of delivering.  The WA12-500 MKII is based around a discrete op-amp, the X731, which is our own reproduction of the vintage classic Melcor 1731, considered by some to be the warmer predecessor to the modern 2520-style op-amp.  The X731 can achieve vibrant, clean and lifelike tones; but can also be driven into mild saturation at much higher gain levels.  The effects can be subtle, but very pleasing to the ear.  The WA12-500 MKII can also accept any discrete op-amp on the market that conforms to the +/-16v, 2520 pinout standard.  Specifications:Utilizes premium grade input and output USA CineMag transformers.71db of Gain, fully discrete signal path.Utilizes a discrete 6-pin socketed 1731 style opamp.  Can be replaced with other 6-pin "2520 foot-print" opamps for varying tone/flavor.TONE button – Switches the input impedance from 600 ohms to 150 ohms.  Changes the tone of both the mic and HI-Z inputs.2 Meg Ohm True HI-Z input on front panel. Sends instrument signal through entire circuit including both Cinemag Transformers and the discrete opamp. Great for guitars, bass, keyboards and other instruments that have a 1/4″ output jack.48 volt Phantom Power.Output attenuation control (after the CineMag output transformer) allows for driving the preamp and transformers into saturation.LED Meter gain indication.20db pad.​  

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.The API 512v remains faithful to the circuit designs of API's founder Saul Walker. Artfully combining those circuits with API's proprietary transformers and the incomparable 2520 op-amp, the 512v is a highly musical and rich-sounding analog mic pre, equally at home in commercial recording spaces as it is in smaller home studios. Fully featured and still hand assembled, the 512v exhibits the reliability, long life, and uniformity which are characteristic of all API products. SpecificationsMic Preamp with 65 dB of gainVariable Output Level Control3:1 Output Transformer Tap SelectionFront and Back Panel Mic Input AccessLine/Instrument Preamp with 45 dB of gainFront Panel Combo-style XLR + 1/4 inch Line/Instrument InputLED VU meter for Gain Level indication20 dB pad switch, applies to mic/line/instrument48v Phantom switchable powerTraditional API fully discrete circuit design with 2520 Op AmpFeatures API's unique Five Year Warranty

Take Your Whole 500 Series Rig on the Road!Pack up and go with eight of your favorite 500 Series modules in this API 8-slot lunchbox. The 8-slot lunchbox offers a consistent 250mA across all eight slots, providing full compatibility with API 500 Series and VPR-approved modules. Onboard, you'll find all of the things that made the 6-slot (500-6B) chassis such a hit, such as DB-25 D-Sub connectivity for easy I/O and simple cabling, Phantom Power for condenser mics, and a rubber carrying handle, which you can swap for an optional rackmount kit (which you can get here at Sweetwater) for permanent installation. And, as an added bonus, the 8-slot lunchbox even includes toggle switches that allow you to conveniently link channels.API 8-slot lunchbox 500 Series Chassis Features:A handy and highly portable 8-slot 500 Series rackAll 8 slots consistently deliver 250mA of powerFully compatible with API 500 Series and VPR-approved modulesDB-25 connectivity on rear panel keeps your I/O tidy and offers grab-and-go conveniencePhantom Power supplied for each slotToggle switches let you effortlessly link channelsRubber feet and carrying handle provide amazing portabilityRugged steel chassis makes this lunchbox truly road worthyOptional Rack Ears available for rack mounting

10 slot Rack with Power Supply. 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.

The API Model 500-6B Lunchbox is a six position rack designed to accept all API standard 5.25" X 1.5" modules. This allows an engineer the flexibility to bring along specialized EQ effects to any situation: 550A, 550B or 560. The Lunchbox is self-powered, 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. API makes several modules for the 500-6B, such as the 512C mic preamp, the 525 compressor, the 560 Graphic EQ, and the 550B four band EQ. Combinations of these modules make perfect stereo recording packages (two 512C's and two 550B's) or vocalist's box, (one 512C, two EQ's and one 525 compressor).         FeaturesHolds 6 API standard modules48 Volt internal phantom power supplySelf-Powered, 100 to 250 Volts, 47 to 63 Hz, SwitchableRubber feet & carrying handle for portabilityRugged steel chassisPerfect for remote recording of Vocalist and InstrumentsOther uses for the versatile Lunchbox include:Multitrack Recording of Acoustic and Electronic Audio Sources.Sound Reinforcement Systems and Recording Live to Multitrack formats.Multiple facility projects where portability is a plus.Broadcast and Audio for Video Production.Custom Channel Input Strips.

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.        FEATURESMic Preamp with 65 dB of gainFront and Back Panel Mic Input AccessLine/Instrument Preamp with 50 dB of gainFront and Back Panel Line/Instrument InputLED VU meter for monitoring output level20 dB pad switch, applies to mic/line/instrument48v Phantom switchable powerTraditional API fully discrete circuit designUses the famous API 2520 Op-Amp

Discrete Compressor, Re-Issue. Originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output.  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/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever. The API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA "feed forward" compressors so common today. A remarkable multi-function "ceiling" control 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. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.        FEATURESReissue of API's original 525 from the early 70'sPeak detecting "feedback" compressor/limiterVariable Threshold and Output levelsUnique "Ceiling" control combines key functionsVU meter for monitoring gain reduction4 Switchable release modesDe-Ess functionTraditional API fully discrete circuit designHardwire bypass

Few equalizers enjoy the respect and admiration of the coveted API 550A. Designed by the now legendary Saul Walker in the late 60's, 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 it's way into many custom console designs by Frank DeMedio and other leading engineers. Many of these consoles are still in use today.Forty years later, the 550A remains the standard against which other EQ's are measured, and it has played a major role in the recording industry for decades. Still copied but never duplicated, the 550A became API's standard channel module EQ when the company began manufacturing consoles in 1971. With virtually all existing units spoken for, popular demand for this EQ resulted in API finally resuming production in 2004.With the long-awaited reissue of this unit, an EQ that has had such a part in the history of recording is continuing to make history in today's music.         FEATURES3 bands of classic API equalization Each band offers 5 API selected frequency centers Reciprocal and repeatable filtering maximum 12 dB of boost/cut per band EQ Band 1 and 3 offer shelf/peak switching "Proportional Q" narrows filter Q at extremes Traditional API fully discrete circuit design High headroom +30 dB clip level

The API 550 EQ played a major part in the history of music recording in the USA during the 60's and 70's. Originally conceived for use in API's consoles, this latest 550 "B" version is a continuation of the original 1967 550 through the 550A with one 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 the 550B will be an invaluable tool you will turn to again and again. The API 550B—unlike any other you will ever use.Many EQ's today offer a huge assortment of complex features, but the API 550B provides exactly the right number of controls to the professional engineer. Deceptively simple at first glance, the 550B's four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device. Each band offers 7 switchable filter frequencies spanning 4 to 5 octaves, selected through experience by a "who's who" list of the industry's most proficient engineers. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.Features: 4 bands of our famous sounding equalizationEach band offers 7 API selected frequency centersReciprocal and repeatable filtering12 dB of boost/cut per bandEQ Band 1 and 4 offer shelf/peak switching"Proportional Q" narrows filter Q at extremesTraditional API fully discrete circuit designHigh headroom +30 dB clip levelRe-issue of 1967 API 550 EQ with an extra band

The Tone Beast is a great mic pre with loads of gain that can effortlessly capture an array of sources very well. With top notch CineMag transformers and multiple discrete signal paths, it's hard to beat its big, bold, fully-professional sound at its price.The Tone Beast is a mic pre that likes to be pushed and when pushed will colorize your signal ever so sweetly. The 2 opamps and 2 output transformers at the flip of their switches won't appear to be much different, but as one drives the pre into harmonic distortion, the unique character of each of these components becomes apparent. Additionally the Tone Beast is customizable and allows for other opamps to be sourced and easily swapped into the unit. I've pulled my best tones from this pre right at the saturation point (as loud as I can push the gain before clipping). The output control on the TB12 allows you to limit the signal exiting the preamp even when pushing the gain to really hot levels, giving you maximum control.Specifications:Utilizes premium grade CineMag USA Transformers.71db of gain.Transformer selection provides both Steel and 50% Nickel CineMag output transformers for varying character.Transformer bypass switch allows for removal of the output transformer from the circuit.Discrete Opamp selection allows for choosing between a 1731(vintage) and 918(cleaner) style .opamp.  These are socketed/swappable with your choice of 2520 6 pin footprint opamps.Impedance switch labeled TONE to switch between 150 and 600 ohms input impedance.  Changes the Tone of all inputs (Mic, Line and Hi-Z.).2 Meg Ohm True HI-Z input on front panel sends instrument signal through entire circuit including both Cinemag Transformers and the discrete operational amplifier. Great for guitars, bass, keyboards and other instruments that have a 1/4″ output jack.Capacitor selection between Tantalum and Electrolytic for different characters.80hz hipass filter.Polarity Reverse.+48V phantom power.Output attenuation allowing for saturation flexibility of both the opamps and transformers.¼" insert for the use of inline compressors, eq's etc.Balanced XLR mic, balanced TRS line, and ¼" instrument inputs.-20db Pad.LED VU Meter.Compatible with standard 500 series racks.​​