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Royer Labs RSM-SS1 Sling-Shock Microphone Shock Mount Studio Projects SPM5 Mic Pre Summit Audio TD-100 Instrument Preamp / DI
Studio Projects SPM5 Mic Pre
LIST: $499.00
PRICE: $399.00

Royer Labs RSM-SS1 Sling-Shock Microphone Shock Mount

The Royer RSM-SS1 Sling-Shock™ is a revolutionary departure from traditional shock mount designs. The Sling-Shock is hand-built in Burbank, CA facility using only the finest materials. Royer done away with the rubberized parts and elastic cords, producing a durable shock mount that gives superior isolation from vibrations.

The proprietary system of non-resonant nylon cable and damped steel springs acts to isolate the microphone from vibrations induced from the microphone stand. These vibrations can appear as rumble and/or low-grade noises which create disturbances across the bandwidth, from low end thumps to harmonic disturbances at different frequencies. The Sling-Shock's superior vibration-reduction capabilities and lack of self-resonance allow engineers to capture performances free of vibration-related interference across the bandwidth.

The Sling-Shock RSM-SS1 is sized to fit Royer's 1-inch diameter R-121, R-122, R-122V, SF-1 and SF-12 ribbon microphones. Any cylindrical microphone measuring approximately one inch in diameter (+/- 1/8 inch) will work with the model RSM-SS1. The RSM-SS24 accommodates Royer SF-2, SF-24 and SF-24V microphones.

RSM-SS1 Sling Shock Features:

  • Superior isolation from vibration and shocks
  • Felt-lined, scratch-free microphone chamber holds mic securely
  • No rubberized parts to degrade or stretch
  • Flexible for easy microphone positioning
  • Lifetime warranty

Microphone Cable Clip

Low-level vibrations can be transferred through the mic cable and into the microphone. Incorporated into the sling-shock's design is a microphone cable clip. This feature is highly effective at further reducing vibrations from being coupled to the microphone through the microphone's cable.

Studio Projects SPM5 500-Series Preamplifier and DI

A unique preamp for API 500 format designed by the man who owned API and Tonelux; Paul Wolff

Designed by Paul Wolff, known to the industry as the man who rescued API from Datatronix and founder of Tonelux, the 500-series Studio Projects SPM5 is a unique, high-quality mic/DI preamp. Like all things that come “from the mind of Paul Wolff,” the SPM5 has something special; a feature called “Radiance,” which provides clarity and presence to your sound source without boosting overall output levels. The SPM5 provides clean, low-noise gain up to 60dB, and if you’re testing mics on the fly, the SPM5 also has a convenient front-panel combo jack that lets you plug in a mic or instrument directly. With Studio Projects’ very affordable 500-series SPM5 you can fill your power rack with preamps from the man who designed some of API’s greatest modern hits and the entire stellar line of Tonelux—in fact, there’s no reason not have at least two SPM5 preamps.

Studio Projects SPM5 500-Series Preamp/DI unique features:

  • Radiance control adds 2nd-order harmonics for clarity and presence without volume boost

Studio Projects SPM5 500-Series Preamplifier key features:

  • 70dB total gain; 3dB - 60dB input; 10dB output
  • LED meter can read pre or output gain via PCB jumper
  • Impedance switch
  • 70Hz high-pass (bass cut) filter
  • Front-panel XLR/1/4" combo jack
  • 48V phantom power
  • Polarity reverse
  • Mic/Line input switch
  • 500-series format

Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.


INSIDE THE BOX — Studio Projects SPM5 500-Series Preamp/DI

The Studio Projects SPM5 preamp/DI has discrete input circuitry and a transformer-balanced output (the same TX-100 custom transformer found in the Tonelux MP5A preamp). Plus, the SPM5 also has an impedance switch, which can come in very handy with ribbon and dynamic microphones. Along with the usual suspects found on a preamp, the SPM5 features a unique Radiance control, which is an adjustable high-frequency control that adds, 2nd-order harmonics to you signal without raising overall output levels. The Radiance control is very handy for adding clarity and presence without the harshness or phase shift that can come with boosting high-frequency EQ.

The SPM5 front panel features a combo jack that can be used with either an XLR or ¼" cable and a switch for mic or instrument use. This is also a very handy feature if you’re swapping or testing mics to find the right one for the job at hand.

Studio Projects also paid special attention to the SPM5’s gain control. While the gain control of many preamps is uneven, often with the last 40dB to 60dB of the range being crammed into the last 1/16th of a turn, the SPM5 uses a specially designed control circuitry that ensures smooth operation over the entire range of rotation, with extra sensitivity in the critical 25dB to 45dB range.

The SPM5’s polarity switch can correct for the wiring of older, non-AES equipment, change the character of the sound from guitar mics, and when using two mics for M-S stereo recording, invert the phase of one of them.

The SPM5’s high-pass filter helps to remove stage rumble, handling noise, and low-frequency resonances. The cut frequencies are continuously variable from 25Hz to 200Hz. The HPF “on” switch lets you make comparisons between filtered and unfiltered sound.

All preamplifiers exhibit some noise due to the electronics they require, which is not a problem as long as the noise is low compared to the sound source. The SPM5’s electronics are extremely quiet, such that any noise you may perceive is almost entirely due to the source impedance of the microphone.

OUTSIDE THE BOX — Studio Projects SPM5 500-Series Preamp/DI

The Studio Projects SPM5 has the following controls and functions:

Gain: This is where it all happens. Use this control to set the appropriate gain for your source, be it mic or instrument. Use the LED meter and your ears to adjust the amount of gain desired.

LED Meter: A jumper setting on the PCB determines pre or output gain.

Output: This as akin to a fader on a console. Once you have your preamp gain properly set, use this control to determine the overall output level of the SPM5.

70Hz: High-pass, or bass-cut filter. Use this to roll off extraneous low frequencies.

POL: This switch reverses the polarity of the microphone signal. It can correct for older, non-AES equipment; change the character of the sound from guitar mics; and switch polarity of one mic when using two mic for Mid-Side stereo recording.

IMP: This switch determines the input impedance your mic sees and is included on the SPM5 to handle ribbon mics. Leave it disengaged for condensers. (Try it on ribbons and dynamic mics.)

Radiance: This control adds a layer of high frequency, 2nd-order harmonic distortion to the pre, allowing you to add a shimmering “satin” high end. Use Radiance to add clarity and presence without boosting the overall recording level.

48V: Supplies phantom power for the circuitry of an active mic, such as a condenser.

INST: Engage this switch if you are plugging in a line-level signal or instrument, such as guitar or bass into the SPM5

MIC/INST: A combo jack that can be used with XLR or ¼" cable as needed



About SPM5 designer, Paul Wolff

Paul Wolff has been designing professional audio equipment since 1975. His designs span from console designs to small custom products of all sorts. He has owned several manufacturing companies. Periods between company ownership were spent working with the new owners of each company. Currently, Paul is designing audio and mechanical products for several of the top audio companies in the world. Paul just received a trademark for "From the Mind of Paul Wolff", which he uses on all his designs.

API was a multi-million dollar company that made recording consoles and was at the forefront of recording and broadcasting. The company went out of business in 1978 and was taken over by Datatronix. Wolff purchased the assets after leaving the company in 1985. During the years that followed, Mr. Wolff introduced the first of many new API products: the 5502 rackmount EQ, the 550B EQ, the 3124 preamp, and the 512b mic pre.

Seeing a major shift in the recording industry, Mr. Wolff left the company in 2004 and formed Tonelux Designs Limited. The concept of the Tonelux product line was geared towards the “new studio model”, where so much more of the production work is being done in the Workstation, and the requirement for a large frame console is not as necessary as it had been in the past. Wolff also came up with the ShadowMix automation system that followed the HUI control protocol and ran motorized faders with the audio passing through them.

The company did very well for the next 4 years and was sold to the PMI AUDIO GROUP in Gardena, CA. Mr. Wolff stays on to continue the development of the Tonelux product line.

About Studio Projects

Based in Gardena, California, Studio Projects is a line of microphones and electronics started in 1999 by Alan Hyatt of PMI Audio Group. Studio Projects’ line of award winning microphones, preamps, and signal processing equipment is a result of a partnership between PMI Audio and Beijing 797 Audio Co. LTD, a manufacturer of condenser microphones and professional audio products since 1952.

Within the line, there is a broad and evolving range of tools designed to provide the engineer and recordist with a level of sonic quality and durability. Studio Projects continues to prove that innovative designs and years of experience produce quality products that fit well in all professional and home applications.

Studio Projects microphones are designed by engineer Brent Casey.

With the respectable pedigree of its designer, Paul Wolff, and the affordability of Studio Projects, the SPM5 can give you a 500 rack full of preamps that rival the performance of any 500-series preamp at half the price. For more information, call or chat with an RSPE representative today.


The TD-100 instrument preamp and tube direct box from Summit Audio features a hybrid signal path utilizing both a discrete transistor input device and a 12AX7A vacuum tube to give your musical instruments the clarity of class A sound with the richness and warmth of vacuum tubes all in 1/2" rack space.

This vacuum tube adds a subtle texture and smoothness, a professional sheen to your instrument, which is perfect for both live and studio use. The TD-100 offers both XLR microphone level and 1/4" TRS line level outputs, plus variable input impedance, polarity switch and ground lift, signal and overdrive LEDs, and even a headphone output for use as a practice device. See what a little Summit Audio can do for you.
API 505-DI 500 Series Direct Input Module Miktek C1 Large Diaphragm FET Condenser Mic A-Designs EM-Red Preamp Module
API 505-DI 500 Series Direct Input Module
LIST: $595.00
PRICE: $565.25
A-Designs EM-Red Preamp Module
LIST: $795.00
PRICE: $675.00

API 505-DI Direct Input— 500-Series Module

The distinct API sound of the console-based 205L now in the affordable, 500 series format

Designed after the console-based API 205L, the 505-DI Direct Input Module is specifically designed for 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.

This minimal signal path eliminates the need to use a standard direct box, which many times still requires a mic input, equalizer, and a fader to get the signal to a recordable level. The 505-DI is capable of boosting any instrument to a hefty line level without additional amplifiers. Use of the 100K / 400K LOAD switch allows the tone of the pickup to be altered slightly, alternately brightening or darkening the high frequency content. When inserting an instrument with an internal preamp or a line level instrument such as a sampler or a keyboard, the 505-DI offers a 20 dB PAD switch to drop the level without loading, thereby retaining the integrity of the incoming signal.

API 505-DI Direct Input key features

  • Wide Range Gain Control with 55dB of gain
  • Front Panel Hi-Z Input
  • Front Panel Thru routing
  • TONE Control helps customize your sound
  • BRIGHT Switch boosts clarity and presence
  • 10 segment LED VU meter for monitoring output level
  • Peak Output LED Indicator
  • 20 dB pad switch, applies to mic/line/instrument
  • 100K / 400K Switchable Load
  • Traditional API fully discrete circuit design
  • Uses the famous API 2520 and 2510 Op-Amps

API 2520 Op Amp—key to the API sound

API’s 2520 Op Amp found in the 505-DI is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance.

In total, the elegant simplicity of 2520 discrete operational amplifier provides the core of the API sound.


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.


API Audio's VPR Alliance

The VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API's 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API's rack specifications.

The creation of the VPR Alliance was encouraged by the overwhelming popularity of API's 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.

Because of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.

API’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.

An Abbreviated History of API

It all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary "2520 amplifier", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.

API became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.


If you don’t have it already, there’s no time like the present to get the sound of API onto your tracks. Try RSPE’s Demo 4 Free service and find out for yourself. For more information, call or chat with an RSPE representative.


This product is also available as part of the RSPE Demo 4 Free & Rental Program, click here to see the rental product page.

Miktek C1 Large Diaphragm FET Condenser Mic

Large diaphragm FET condenser will impress the most critical listeners and inspire artists to create their best performance

The Miktek C1 large diaphragm FET condenser features a tightly controlled cardioid pick up pattern, a high-pass filter and –10dB pad for recording loud sound sources. The frequency response is warm on the bottom and silky-sweet on the top, yet at the same time, the midrange is natural and open. The microphone produces amazing results when recording acoustic instruments, guitar amps, or as overheads on a drum kit. But of course, the C1 really excels on vocal ­applications.

The C1 utilizes the new MK1 capsule developed by Miktek engineers, featuring dual 1-inch diaphragms made using 5-micron Mylar with a 0.4-micron layer of evaporated gold. The diaphragm is precisely tensioned and mounted to a carefully tuned backplate to create the finished capsule.

The C1’s head amplifier has been designed around the AMI T7 transformer and, together with the implementation of high-quality components including hand-selected transistors, offers a sweet response reminiscent of highly desirable vintage microphones.

In addition, the innovated head amplifier design features a unique circuit that allows the engineer to switch the capsule bias voltage from +44 to +60 volts. This proprietary circuit implementation essentially provides the mic with two voices; allowing you to choose between a classic and modern microphone. At +44 volts the capsule’s diaphragm is under less ­tension, so it’s able to react to extremely subtle changes in sound pressure; enabling the microphone to capture the slightest nuances in any performance. When the bias voltage is set to +60 volts, the C1 is extremely accurate and articulate.

The Miktek C1 is hand assembled, tested and packaged in Nashville, Tennessee, USA using components from the US, Europe and Asia. Each microphone includes its serialized ­frequency response graph created during final testing.

The C1 is packaged with its swivel mount, in a wooden box, along with the included shock mount.

Miktek C1 Key Features:

  • MK1 1-inch Capsule 5-micron Mylar, Evaporated Gold Diaphragm
  • Cardioid Pick-up Pattern
  • High-pass Filter & -10dB Pad Switches
  • Variable Capsule Bias Voltage: 48 – 60v
  • AMI T7 Transformer
  • Individual serialized Frequency Response Graph
  • Wood Presentation Case with Swivel-mount, Shock-mount and rugged aluminum Carrying Case
The A-Designs Audio EM-Red is the “mid-forward” preamp of the EM family. Its sound derives from the combination of an A-Designs proprietary input transformer featuring a unique winding, and a 50/50 steel/nickel-wound output transformer (also a proprietary A-Designs alloy).

The EM-Red has the extra kick you need when you have a mic that lacks present mids (such as the mid-scooped Chinese capsules), or if you want to bring an instrument forward in the mix. The upfront mids of the EM-Red make it ideal for drums, guitar, bass guitar, and acoustic instruments. In fact, you will find the EM-Red particularly useful when recording acoustic guitar with a condenser microphone. It’s also great for bringing out the resonance and character of rack toms and floor toms.


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.

A-Designs EM-Silver Preamp Module A-Designs EM-Blue Preamp Module A-Designs EM-Gold Preamp Module
A-Designs EM-Silver Preamp Module
LIST: $795.00
PRICE: $675.00
A-Designs EM-Blue Preamp Module
LIST: $795.00
PRICE: $675.00
A-Designs EM-Gold Preamp Module
LIST: $795.00
PRICE: $675.00
The A-Designs Audio EM-Silver has a darker tone than the P-1, EM-Red, and EM-Blue. Its sound is based on a custom-wound steel output transformer, which makes it an excellent match for ribbon microphones since steel transformers were widely used in the early days of recording and broadcast. It was the combination of steel transformer and ribbon mic that gave broadcasters and singers that “voice of god” sound that has defined vocal recording and the amplified spoken word for decades.

The EM-Silver is a great preamp for bass guitar and keyboards. And in the world of percussion, it’s a great choice for kick drum. For brighter sound sources, the EM-Silver is the preamp of choice when you want less top end or a vintage-type sound. For a true vintage sound, use the EM-Silver with ribbon mics, or on modern, brighter condensers to smooth out top end. If you like vintage Neve, you’ll love the EM-Silver.


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.

Equipped with a nickel custom-wound output transformer for accentuated highs, the EM-Blue is the brightest sounding of the EM Series. It produces a much more airy, top-end-present tone than its EM-Series brothers and sisters. Many aspects of recording can be counter-intuitive, and in many cases, you’ll want to pair opposites. For example, when used with a dark-sounding microphone or an alto vocalist, the brighter EM-Blue can produce a heavenly sound.

You will also find this pre useful for providing a crisp “crack” when recording a snare drum. And if you use the DI you just might fall in love with what an electric guitar sounds like going thru its nickel transformers. As with all of A-Designs’ 500-Series preamps, the EM-Blue has a -20dB pad that enables you to get down and dirty with an electric guitar. Just switch in the pad and crank the gain for a slight growl.


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.

The EM-Gold’s combination of EM-Silver and EM-Red transformers make for the perfect sounding floor tom. It’s also the preamp you should reach for when you want that speaker-moving, low-mid thump from heavy guitars.

The EM-Gold is ideal for fattening up thin-sounding sources; on mics lacking low mids or upper bass warmth; and mid transients, such as percussion and drums. It also shines on vocals, bass, and even drum machines. If you’re going to move air (the secret of a big sound), go for the Gold—the A-Designs Audio EM-Gold.

Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.

Summit Audio TLA-50 Tube Leveling Amplifier / Compressor Summit Audio 2BA-221 Mic/Line Preamp Phoenix Audio DRS1R / 500 API Module
Summit Audio 2BA-221 Mic/Line Preamp
LIST: $749.00
PRICE: $679.00
Phoenix Audio DRS1R 500 Series Mic Pre
LIST: $799.00
PRICE: $699.00
The Summit Audio Tube Leveling Amplifier is a hybrid of technologies.  It contains both vacuum tube and solid state components.

This combination of old and new technology produces an incredibly warm and smooth sounding compression device without the inherent disadvantages of the older designs.
Introducing the extraordinary 2BA-221 Mic and Line Module, featuring our remarkable continuously variable impedance microphone preamp. With microphone level, line level, and Hi-Z instrument inputs, the 2BA-221 utilizes separate and individually controlled solid state input controls to mix the microphone input with the Hi-Z or line input into the variable vacuum tube output. Using the variable mic impedance and variable solid state and tube stages gives you unprecedented sonic control of anything you throw at it, be it mic level, line level, or instrument level. The Phoenix Audio DRS1R/500 is a mono pre amp and DI for the API 500 series, it was designed to be identical in terms of features and sonics as the ever popular DRS1 but in a new format. The unit runs at 24v thanks due to the special power supply built into the unit so it offers no sonic sacrifices whilst still maintaining a very low current use needed for the API format and is well within its API VPR limits.

Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.


This product is also available as part of the RSPE Demo 4 Free & Rental Program, click here to see the rental product page.
Daking Comp 500 BAE 312A Rackmount and Module BAE 312B Signature Series Mic Pre / DI
Daking Comp 500
LIST: $795.00
PRICE: $725.00
The Daking Comp 500 is a simple to use VCA compressor/ limiter in a 500 series format. Although it is a VCA, it behaves and sounds much like the FET circuitry found in the other Daking compressors. Relying on his years of experience and testing, Geoff has designed a simple semi-automatic compressor useful for both tracking and mixing.

The compression is set with one knob-- less compression or more compression. Attack is switchable between fast and slow, and Release is switchable between fast and Auto. Ratio is about 4:1 (comp) or 20+:1 (limit). The stereo link is very accurate and can link up to 6 units if necessary.


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.

BAE 312A 500-Series Mic Preamp / DI

500-series compatible mic pre/DI with one of the most popular vintage sounds available: the API™ 312

The BAE 312A 500-series mic preamp is a spot-on replica of the famous API 312 preamps that populated the early API consoles. Key to the API 312’s sound was the absence of a coupling capacitor between output transformer and opamp, which allowed transients to pass easily, making it a favorite for punchy snare and toms. The early 312s owed their sound in large degree to the API 2520 opamp, which underwent numerous changes throughout the years as component manufactures discontinued lines or changed specs—but API adapted as necessary to maintain the classic 312 sound. So how does the BAE opamp compare to the original API? BAE never stops short of getting right and the Avedis 1122 opamp found in the BAE 312A takes the performance of the API 2520 opamp to a higher level. The BAE 312A gives you all the vintage punch, sound and fury that made the original 312 a classic, and adds reliable, modern performance to boot.

BAE 312A 500-Series Mic Preamp/DI features:

  • Authentic open, punchy sound of the original API 312
  • Avedis 1122 opamp improves on the performance of the 2520 opamp
  • Jensen input and output transformers
  • Switches have gold contacts for long life
  • Front-panel, Hi-Z direct input for guitar and synthesizer
  • Separate front panel switches for phantom power
  • Hand-made in the USA

Back in the ’70s there were two major players in console manufacture (three if you count Electrodyne, which disappeared early-on due to mismanagement). The Neve name inspired awe among engineers and musicians alike, and had emerged as the primary force in console making to be reckoned with. Much like John Cougar Mellencamp was signed as the American answer to David Bowie, Saul Walker’s Automated Processes Inc. (API) consoles were the American answer to Mr. Rupert Neve’s eponymous consoles. Both desks defined the sound of rock and roll in their own way, with preamps of elegant simplicity that provided the power and punch that rock and roll would continue to thrive on to this day.


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.


Inside the Box

Like all BAE products, the 500-series compatible BAE 312A Mic Pre/DI is made with the highest quality parts, including Jensen input and output transformers and the Avedis 1122 opamp. When discussing API preamps, the important distinction between the 312 and later 512C is the use of coupling capacitors between the output transformer and opamp. The reason for the 312’s success (it’s open punchy sound, particularly on drums) was also its greatest weakness. The 312 had no coupling capacitor between opamp and transformer. As such, if the opamp had any DC offset (a voltage output above the mean amplitude), it might burn out the transformer. The 512C had large coupling capacitor in parallel with a high-frequency capacitor and a resistor for transformer damping. The 512’s opamp also had a servo to eliminate DC offset. The result was increased headroom and the elimination of pops when the phase switch was cut in. Of course, the addition of these components led to a perceived sonic difference between the two. Those who have worked with both often hear the 312 as more open and punchy than the 512C.

To support the fast transient response of the capacitor-less 312A, the BAE 312A uses the Avedis 1122 opamp. The Avedis 1122 is a high-performance, direct-coupled operational amplifier designed specifically for professional audio amplifier applications. The 1122’s were originally made for replacement opamps in the repair of vintage API 312 and 512A mic preamps. It’s based on the same design principles as the 2520, but built with today's high-quality components, to make it operable under a wider voltage range and with lower noise than previously possible. Using no IC's, JFET's, or surface-mount components, the 1122 opamp is picks up where the 2520 left off. Its high output power, low distortion, and wide power bandwidth provides the kind of performance levels appreciated by the working professional.

Outside the Box

The front panel of the 500-series compatible BAE 312A mic pre has a matte black finish with orange BAE logo. It hosts a 1/4" Hi-Z instrument input; buttons for phase reverse, pad, and +48V phantom power; and gain knob. Your basic no-frills design, it’s what’s inside the BAE 312A that counts.

Need a lunchbox or 500-series power rack for you BAE 312A? No worries! BAE makes the 3LB 3-space lunchbox; a 6-space lunchbox and power rack; and an 11-space 500-series power rack if you’re looking to load up on vintage punch.

Who’s Using BAE:

"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre's, EQ's, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark's (Loughman) new ownership in the company. I forecast excellent things to come. — Ross Hogarth, Grammy-winning producer-engineer

"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I've ever heard." — Steven Slate Drums

“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre's with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)

“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — Jane Wiedlin, The Go-Go's

“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – Bootsy Collins

“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we've had blind fold audio "shoot out" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — Andy Kravitz, drummer, producer, engineer

Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)

About BAE (British Audio Engineering)

Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out RSPE’s Designer’s Perspective feature and get a first-hand look at the inner workings of BAE.

Add the classic API punch to your 500-series rack with BAE’s 312A. Check out RSPE’s Rack Revolution custom 500-series module builder and get started now, or call or chat with an RSPE representative today.



This product is also available as part of the RSPE Demo 4 Free & Rental Program, click here to see the rental product page.

BAE 312B Signature Series Microphone Pre-Amplifier

500-series compatible mic pre/DI with one of the most popular vintage sounds available: the API™ 312

The BAE 312B 500 Series Mic Pre / DI carries the same excellent dynamic range, frequency response and noise performance the BAE 312 series is known for, but with 9dB lower gain, making it perfect for drums or other loud instruments. BAE achieves this newly introduced and modified gain structure by utilizing a lower gain Jensen input transformer, designed to compliment louder sources before needing to implement the pad.

The 312A's higher gain structure occasionally required the pad to be used frequently with louder sources, such as a hot microphone on drums. The 312B uses an alternative Jensen transformer putting it at 7dB's of lower gain to accommodate louder sources without losing the dynamic characteristics of the 312A. This allows engineers the option of owning the 312A as a pre-amp geared toward higher gain and the 312B for toward lower gain.

The 312B, just like the 312A, features the Avedis® 1122 Discrete Op-Amp and input and output Jensen transformers which use direct-coupled circuitry with no capacitors in the signal path. The input impedance of the 312B is designed to remain consistent, even after the pad is engaged, providing a steady load to the microphone. The characteristics of the 312B offer excellent dynamic range, frequency response, high headroom, and excellent noise performance for a punchy sound which works well with many microphones.

The 312B is available as a single 500 Series module and as a fully loaded six space lunchbox. It includes a custom pull-on switch tailored to accentuate higher frequencies, a DI for instruments, a Phase Reverse switch, 48V for phantom power, and a PAD switch.

BAE 312A 500-Series Mic Preamp/DI features:

  • Made using Avedis® 1122 opamps
  • Supplied with Jensen input and output transformers.
  • Remote power supply with four-foot cable capable of four times the current needed by the preamps for optimum sound quality.
  • Switches have gold contacts for long life.
  • XLR connectors on the back for mic input and output and phone jack in front for direct input.
  • High impedance direct input for guitar and synthesizer.
  • Separate front panel switches for phantom power.


Back in the ’70s there were two major players in console manufacture (three if you count Electrodyne, which disappeared early-on due to mismanagement). The Neve name inspired awe among engineers and musicians alike, and had emerged as the primary force in console making to be reckoned with. Much like John Cougar Mellencamp was signed as the American answer to David Bowie, Saul Walker’s Automated Processes Inc. (API) consoles were the American answer to Mr. Rupert Neve’s eponymous consoles. Both desks defined the sound of rock and roll in their own way, with preamps of elegant simplicity that provided the power and punch that rock and roll would continue to thrive on to this day.

Who’s Using BAE:

"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre's, EQ's, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark's (Loughman) new ownership in the company. I forecast excellent things to come. — Ross Hogarth, Grammy-winning producer-engineer

"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I've ever heard." — Steven Slate Drums

“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre's with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)

“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — Jane Wiedlin, The Go-Go's

“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – Bootsy Collins

“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we've had blind fold audio "shoot out" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — Andy Kravitz, drummer, producer, engineer

Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)

About BAE (British Audio Engineering)

Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out RSPE’s Designer’s Perspective feature and get a first-hand look at the inner workings of BAE.

Add the classic API punch to your 500-series rack with BAE’s 312B. Check out RSPE’s Rack Revolution custom 500-series module builder and get started now, or call or chat with an RSPE representative today.

A-Designs P-1 Preamp Module Daking Mic Pre One BAE 312A Rackmount and Module
A-Designs P-1 Preamp Module
LIST: $895.00
PRICE: $795.00
Daking Mic Pre One
LIST: $895.00
PRICE: $795.00
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. While not an exact replica, it sounds as close to Pacifica as is possible for its smaller size. It has a big low end, slightly forward midrange, and extended highs.

If you’re a fan of Quad Eight or API, you’ll love the A-Designs Audio P-1.The P-1 shines on vocals, instruments, room mics, piano, and on instruments with sharp transients, such as drums and various percussion instruments. And if you’re building a lunchbox with drum recording in mind, a pair of P-1s is a superb choice for overheads when you want to capture the entire kit along with the sizzle of the cymbals.


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.

The Mic-Pre One is a single channel mic preamp that was originally designed with the home recordist who only needs one input in mind. Because of it's high performance and robust mechanical design, it has also become first choice of many professionals when doing small remotes. They just throw two or three in a suitcase and off they go!

The Mic-Pre One's great performance comes from our existing popular Daking designs, the Mic Pre EQ, Mic Pre IV, and console modules. All of these preamps use the same unique preamp circuit which features a Jensen input transformer and a Class "A" discrete transistor preamp with a single sided power supply.

Because the home recordist faces challenges that the professional studio owner does not, the Mic-Pre One features a powerful continuously variable high-pass filter with a range of 10-200Hz @ 12db per octave.

Big studios have big monitors, good isolation and quiet air conditioning. Also, if you are recording to tape at 30ips, you cannot record below 40Hz.

Small studios usually have small monitors that don't reproduce very low frequencies well, have little or no isolation and poor ventilation. Modern digital recorders will easily record 10Hz. Because of this, many home recordings are filled with low frequency rubbish that clouds, clutters and takes up space in the mix.

The High Pass Filter in the Mic-Pre One is a powerful tool. The Filter allows the recordist to eliminate unwanted low frequency trash before it enters the signal chain without affecting the program material. This can be a giant step toward making the home record more professional.

BAE 312A Single-Channel Mic Pre/DI without Power Supply

Stunning, single-channel preamp in a 19" 1RU version delivers punch, clarity, and that famous steel-transformer API growl

The BAE 312A 500-series mic preamp is a spot-on replica of the famous API 312 preamps that populated the early API consoles. Key to the API 312’s sound was the absence of a coupling capacitor between output transformer and opamp, which allowed transients to pass easily, making it a favorite for punchy snare and toms. The early 312s owed their sound in large degree to the API 2520 opamp, which underwent numerous changes throughout the years as component manufactures discontinued lines or changed specs—but API adapted as necessary to maintain the classic 312 sound. So how does the BAE opamp compare to the original API? BAE never stops short of getting right and the Avedis 1122 opamp found in the BAE 312A takes the performance of the API 2520 opamp to a higher level. The BAE 312A gives you all the vintage punch, sound and fury that made the original 312 a classic, and adds reliable, modern performance to boot.

BAE 312A Single-Channel Mic Pre/DI features:

  • The extremely popular vintage sound of the API 312 mic preamp
  • Avedis 1122 opamp improves on the performance of the 2520 opamp
  • Jensen input and output transformers
  • Switches have gold contacts for long life
  • XLR connectors on the back for mic input and output and phone jack in front for direct input
  • High-impedance direct input for guitar and synthesizer
  • Separate front panel switches for phantom power

Back in the ’70s there were two major players in console manufacture (three if you count Electrodyne, which disappeared early-on due to mismanagement). The Neve name inspired awe among engineers and musicians alike, and had emerged as the primary force in console making to be reckoned with. Much like John Cougar Mellencamp was signed as the American answer to David Bowie, Saul Walker’s Automated Processes Inc. (API) consoles were the American answer to Mr. Rupert Neve’s eponymous consoles. Both desks defined the sound of rock and roll in their own way, with preamps of elegant simplicity that provided the power and punch that rock and roll would continue to thrive on to this day.

Inside the Box

Like all BAE products, the 500-series compatible BAE 312A Mic Pre/DI is made with the highest quality parts, including Jensen input and output transformers and the Avedis 1122 opamp. When discussing API preamps, the important distinction between the 312 and later 512C is the use of coupling capacitors between the output transformer and opamp. The reason for the 312’s success (it’s open punchy sound, particularly on drums) was also its greatest weakness. The 312 had no coupling capacitor between opamp and transformer. As such, if the opamp had any DC offset (a voltage output above the mean amplitude), it might burn out the transformer. The 512C had large coupling capacitor in parallel with a high-frequency capacitor and a resistor for transformer damping. The 512’s opamp also had a servo to eliminate DC offset. The result was increased headroom and the elimination of pops when the phase switch was cut in. Of course, the addition of these components led to a perceived sonic difference between the two. Those who have worked with both often hear the 312 as more open and punchy than the 512C.

To support the fast transient response of the capacitor-less 312A, the BAE 312A uses the Avedis 1122 opamp. The Avedis 1122 is a high-performance, direct-coupled operational amplifier designed specifically for professional audio amplifier applications. The 1122’s were originally made for replacement opamps in the repair of vintage API 312 and 512A mic preamps. It’s based on the same design principles as the 2520, but built with today's high-quality components, to make it operable under a wider voltage range and with lower noise than previously possible. Using no IC's, JFET's, or surface-mount components, the 1122 opamp is picks up where the 2520 left off. Its high output power, low distortion, and wide power bandwidth provides the kind of performance levels appreciated by the working professional.

Outside the Box

The front panel of the BAE 312A mic pre has a matte black finish with orange BAE logo. It has a 1/4" Hi-Z instrument input; buttons for phase reverse, pad, and +48V phantom power; and gain knob. Your basic no-frills design, it’s what’s inside the BAE 312A that counts.

External 24V PSU

The BAE 312A Single-Channel Mic Pre/DI requires the external BAE 24V PSU (not included) to operate. For optimal sound quality, the BAE 24V PSU provides four times the current necessary to power a preamp, and can power up to two BAE rackmount units*. While other rackmount preamps use an internal power supply, BAE chooses to go a different route in the form of an external PSU. The advantages of an external PSU are many. To begin with, not having space constraints allows BAE to design the power supply without compromise. Plus, it makes the shielding concerns of integrated power supplies a non-issue. When power supplies are built into the same chassis as the audio circuitry, nearby audio paths are susceptible to nasty magnetic fields radiated from the transformers, which adds noise and hum. Additionally, the preamp’s components are subject to extra heat generated from transformers, regulators, and rectifiers—and as we all know, heat is the enemy of electronics. It causes unwanted changes in operational parameters and premature component failure.

Since the BAE 24V PSU can power up to two BAE units, the BAE 312A comes with and without power supply in case you already have a BAE unit and power supply. (For BAE 312A with power supply, see BAE 312A Single + PSU and BAE 312A Dual + PSU)

Who’s Using BAE:

"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre's, EQ's, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark's (Loughman) new ownership in the company. I forecast excellent things to come. — Ross Hogarth, Grammy-winning producer-engineer

"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I've ever heard." — Steven Slate Drums

“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre's with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)

“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — Jane Wiedlin, The Go-Go's

“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – Bootsy Collins

“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we've had blind fold audio "shoot out" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — Andy Kravitz, drummer, producer, engineer

Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)

About BAE (British Audio Engineering)

Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out RSPE’s Designer’s Perspective feature and get a first-hand look at the inner workings of BAE.

Add the classic API growl and punch to your recordings with BAE’s single-channel 312A Mic Pre/DI. Call or chat with an RSPE representative today.

BAE G10 500-Series Graphic EQ Electrodyne 501 500 Series Discrete Two Stage Studio Preamp API 512c Discrete Mic / Line Pre
API 512c Discrete Mic / Line Pre
LIST: $945.00
PRICE: $897.75

BAE G10 500-Series Graphic EQ

A 500 series equalizer from BAE, the masters of recreating vintage sound with modern features and components.

The BAE G10 500-Series 10-Band Equalizer features a Balanced Input and Output and Hi/Low-Pass Filters, making it the Ultimate Hands-On Sound Shaping Tool for Tracking, Mixing, or Mastering.

The G10 combines a punchy, transformer-based signal path with the versatile 10-band graphic EQ configuration and a 2520 style op-amp — making it ideal for tweaking drum or guitar sounds, or even processing an entire mix.

With 10 carefully selected bands offering up to 12 dB of boost or cut on tap, the G10 offers a level of tone sculpting that can help any audio sit perfectly in the mix. The easy-to-use slider-based interface helps users intuitively visualize the EQ curves they are applying. Switchable high-pass and low-pass filters, tuned at 80 Hz and 12 kHz respectively, help make the G10 a truly complete sound shaping solution.

The BAE Audio G10 implements a classic op-amp like those used in well-loved ‘70s American mixing boards. Unlike some other 10-band equalizers presently on the market, the G10 is fully transformer balanced on the input and output, and features a CineMag transformer, to give any audio passing through a unique tonal character.


BAE G10 500-Series Graphic EQ features:

  • CineMag transformer balanced in/out
  • Hand-built in the USA using top quality components throughout
  • +/- 12dB Boost/Cut @ 31Hz, 63Hz,125Hz, 250Hz, 500Hz, 1KHz, 2KHz, 4KHz, 8KHz, 16KHz
  • Individually Selectable LPF @ 12KHz, and HPF @ 80Hz (approx. 6 and 10 dB per octave, respectively)
  • EQ In/Out Select Switch (bypasses EQ and Filters)
  • Fully enclosed ventilated steel enclosure

Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.


Who’s Using BAE:

"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre's, EQ's, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark's (Loughman) new ownership in the company. I forecast excellent things to come. — Ross Hogarth, Grammy-winning producer-engineer

"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I've ever heard." — Steven Slate Drums

“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre's with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)

“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — Jane Wiedlin, The Go-Go's

“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – Bootsy Collins

“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we've had blind fold audio "shoot out" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — Andy Kravitz, drummer, producer, engineer

Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)

About BAE (British Audio Engineering)

Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out RSPE’s Designer’s Perspective feature and get a first-hand look at the inner workings of BAE.


Add clean vintage sound and versatility of a 10-band Graphic EQ to your 500 Series rack with the BAE G10. Check out RSPE’s Rack Revolution custom 500-series module builder and get started now, or call or chat with an RSPE representative today.

Electrodyne 501 500 Series Discrete Two Stage Studio Preamp

A 500-series issue of a classic Electrodyne design from the 'Golden Era' of recording.

The Electrodyne 501 is a two stage discrete transistor, transformer coupled preamp with active DI, using classic 1969 / 1970 design technology. Each amp stage is individually optimized for peak performance using Electrodyne factory engineering notes and selected high performance components identical to the originals. The transformers are made by Electrodyne’s original manufacturer to exacting factory specifications. The active DI circuit presents an almost immeasurable load to sensitive musical instrument outputs allowing incredibly accurate capture of the instruments true tone. The output of the DI circuit is designed to directly connect and interact with the mic input transformer to allow maximum tone options.

Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.


Electrodyne 501 unique features:

  • Maximum Gain: 68db. Adjustable over 50db in 2db steps with two ranges using 20db pad.
  • Output level control: Infinitely adjustable from 0 (off) to +6db over unity.
  • Input impedance: Microphone, 50 / 200 ohms selectable. DI, over 7 megohms.
  • Output impedance: 150 ohms
  • Distortion: 0.02%typical over entire gain range.
  • Maximum output: +30db at less than 0.8%thd. (+29.5db at 0.06%thd)
  • Frequency response: +/- 0.25db, 10hz to 60khz.
  • Signal to noise: -80db typ, -60db at absolute maximum gain.
  • Clip indicator: Monitors all three amp stages and illuminates

If you want classic Electrodyne sound in the palm of your hand — put an Electrodyne 501 preamp or two in your 500-series rack. For more information, call or chat with an RSPE representative today.

API 512c Discrete Mic/Line Pre — 500-Series Module

The distinct API sound at an extremely affordable price

API 512 preamps are most noted for their punch and clarity. The API 512c, first introduced in the ’70s, was an advancement of the original 512. Today’s 500-series API 512c preamp remains faithful to the original circuit designs of API's founder, Saul Walker. Full-featured and still hand assembled, the API 512c carefully preserves the original sound character that made API a prominent figure in the early days of recording. API innovated the modular approach to console building, plus the format and specs for the 500 series. API preamps and EQs have been used to create some of the most famous custom consoles, such as the API/De Medio console at Sunset Sound, responsible for seminal recordings by artists such as Van Halen, Crosby Stills & Nash, and the Rolling Stones, to name but a few. Offering high headroom and a wide variety of inputs and input access points, the API 512c excels on drums, percussion, guitars, and vocals.

API 512c Discrete Mic / Line Pre key features

  • Mic preamp with 65dB gain
  • Front- and rear-panel mic input access
  • Line/instrument preamp with 45dB gain
  • Front-panel line/instrument input
  • LED VU meter for monitoring output level
  • 20dB pad switch, applies to mic/line/instrument
  • 48V switchable phantom power
  • Proprietary API fully discrete circuit design
  • Uses the famous API 2520 Op-Amp

Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.


API 512c — Inside The Box

The API 512b and 512c were next-generation versions of the original 512, which was the first modular mic preamp made. What differentiated the 512 from the earlier 312 were two major factors. First, the 312 was a mic preamp card used in the early consoles, whereas the 512 was a modular design that featured all controls and functions on the front panel. Secondly, the 312 had no coupling capacitor between the output transformer and the op amp, which meant if there was any DC offset in the op amp, it could likely fry the transformer. To rectify this, API designed the 512c with a large coupling capacitor in parallel with a high-frequency capacitor, which in turn was in parallel with a resistor for transformer damping. Also, the 2520 op amp was given a servo to eliminate offset, which resulted in two things: increased headroom and the elimination of popping caused by the phase button being switched in and out of the circuit.

API 2520 Op Amp and 2503 transformer—key to the API sound

API’s 2520 Op Amp found in the 512c is given most of the credit for the API sound. Designed by API engineers, the 2520 is a high-gain, wide-band, direct-coupled amplifier specifically designed for audio applications. The circuit derives its characteristics mainly from the performance of its passive elements, being connected into a feedback loop, which provides predictable, stable performance. Furthermore, the discrete 10-transistor amplifier is encapsulated in a thermally conductive epoxy that protects against thermal shock, vibration, and humidity, assuring long life and reliable performance.

Another contributor to the API sound is the 2503 output transformer. Since the mid seventies, the API 2503 output transformer has gone through a number of iterations in an effort to get back to the original sound. The reason for the change in the sound of the output transformers was a mystery for many years—a mystery finally solved by former API owner, Paul Wolff in 1997.

According to Paul, the process for winding output transformers back in the early days was unknown to most manufacturers because they never specified it. The winding process was simply a part of the transformer maker’s procedure. They used a ribbon-like wire, where all four windings were done at once to save time and money. However, in later times, when trying to recreate the original sound of the 2503, the lacquer used to glue the windings together turned to powder, so no one could see the old process, or figure out why the old transformers sounded so good, whereas the new ones had an 80kHz peak, which extended down into audible range making the transformer sound brighter. Apparently, in the middle ’70s, and unbeknownst to most manufacturers, the ribbon wire had disappeared from use and subsequent transformers were wound from four separate spools of wire, which caused inconsistent wrapping, hence the high-frequency peak.

By 1997 the winding problem was finally identified and the experimentation to return to the former glory of the 2503 began. The solution was a type of wire called Litz wire, which comprises multiple strands of wires electrically insulated form one another, twisted together in a prescribed pattern, and then wound around the bobbin. Litz wire reduces skin effect, which causes resistance to increase at high frequencies, and proximity effect, which causes power losses at high frequencies. Litz wire is very effective up to 500kHz and ultimately produced the same effect as the ribbon wire with identical sonic results. This 10-year odyssey of discovery is why the new API 2503 transformer is virtually an exact match to the old API 2503.

In total, the elegant simplicity of 2520 discrete operational amplifier combined with the 2503 output transformer provides the core of the API sound, yielding one of the most sought-after mic preamps ever designed.

API 512c — Outside The Box

On API 512c front panel is a 7-segment LED VU meter next to a continuous gain control that provides 34dB to 65dB of low noise (-129 EIN) gain. Among the 512c’s front-panel controls are a 48V Phantom Power switch; Polarity switch, that reverses the output phase 180 degrees; -20dB Pad that controls both mic and line input; Mic or Hi-Z Instrument/Line selector, and ¼" Hi-Z Line input. Front-panel XLR and ¼" connectors combined with rear panel mic access allow for additional flexibility when installed into an API lunchbox, API 10-position 500V vertical rack, or an API console.

API Audio's VPR Alliance

The VPR Alliance is a program of standardization and consistency guidelines for approved manufacturers wishing to design products for API's 500-series rack format. The program provides complete design specifications for manufacturers interested in producing third-party modules that physically fit and electronically conform to API's rack specifications.

The creation of the VPR Alliance was encouraged by the overwhelming popularity of API's 500-series racks, including the 10-space 500V and the six-space lunchbox®, which led to a proliferation of third party modules that fit the API format. Typically installed into API racks, these third party modules had raised issues of warranty and interaction with API-manufactured modules in the same rack.

Because of the variables related to those third party modules, API had previously been forced to declare that inserting any third-party modules into a 500V or lunchbox voided the warranty on that rack. Through the VPR Alliance, API is now able to eliminate confusion as to which third-party products definitively do and do not void the API warranty. The VPR Alliance is a straightforward resolution that saves the company time and money while promoting goodwill to API customers.

API’s customers benefit from the VPR Alliance with the knowledge of exactly which products are approved for placement in API racks; customers have a wider range of module choices for their racks that have been tested by API staff for specification compliance.

An Abbreviated History of API

It all began with a dream. It was 1968. The company: Automated Processes Inc., formed by men with a vision. Best known for their now legendary "2520 amplifier", this unique amp has been and will continue to be the heart of all API discrete products. It continues to provide reliability and sonic purity unmatched by the competition. The resulting console met the needs of the music, commercial and broadcast industry.

API became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. In addition, recording studios, large and small, began using API...and receiving rave reviews from engineers and producers. There are over 700 API consoles across the nation and around the world, including the three major networks. Over thirty years later, many of these consoles are still in daily use in some of the most prestigious recording and broadcast facilities in the world because, to date, there are few, if any consoles of equal sound quality at a cost-effective price.

If you don’t have it already, there’s no time like the present to get the sound of API onto your tracks. Try RSPE’s Demo 4 Free service and find out for yourself. For more information, call or chat with an RSPE representative.


This product is also available as part of the RSPE Demo 4 Free & Rental Program, click here to see the rental product page.
Summit Audio FeQ-50 Passive Tube / Solid-State Equalizer Miktek C7e Large Diaphragm Multi-Pattern FET Condenser Mic BAE 500C FET Compressor
With a focus on rich harmonic content and phase coherency Summit Audio offers the FeQ-50 four band parametric, passive equalizer. With six switch selectable frequencies and 14dB of fully sweepable cut or boost on each of the four bands, the FeQ-50 gives you a musically satisfying sonic experience for your tracking, mixing, and mastering projects. I/O includes a total of four simultaneous outputs, -10dB and +4dB vacuum tube out and –10dB and +4dB solid state out. A rich and accessible passive equalizer, the FeQ-50 is simple yet versatile, and is sure to compliment your sound with a dash of flavor unlike any other. Available now for anyone with an ear for quality.

Miktek C7e Large Diaphragm Multi-Pattern FET Condenser Mic

Large diaphragm FET condenser microphone with selectable polar patterns, high pass filter and -10dB pad

The Miktek C7e, multi-pattern, large diaphragm FET condenser will impress the most critical listeners and inspire artists to create their best performance. The microphone’s pick-up characteristic is selectable; offering cardioid, omni and bidirectional patterns. In addition, the C7e employs a high-pass filter and –10dB pad for recording loud sound sources.

The frequency response is warm on the bottom and silky-sweet on the top, yet at the same time, the midrange is natural and open. The microphone produces amazing results when recording acoustic instruments, guitar amps, or as overheads on a drum kit. But of course, the C7 really excels on vocal applications.

The C7e utilizes the new MK7 capsule developed by Miktek engineers, featuring dual 1-inch diaphragms made using 5-micron Mylar with a 0.4-micron layer of evaporated gold. Diaphragms are then precisely tensioned, mounted to carefully- tuned backplates, and finally set back-to-back, with electronic isolation, to create the finished capsule.

The C7e’s head amplifier has been designed around the AMI T7 transformer and, together with the implementation of high-quality components including hand-selected transistors, offers a sweet response reminiscent of highly desirable vintage microphones.

In addition, the innovated head amplifier design features a unique circuit that allows the engineer to switch the capsule bias voltage from +44 to +60 volts. This proprietary circuit implementation essentially provides the mic with two voices; allowing you to choose between a classic and modern microphone. At +44 volts the capsule’s diaphragm is under less tension, so it’s able to react to extremely subtle changes in sound pressure; enabling the microphone to capture the slightest nuances in any performance. When the bias voltage is set to +60 volts, the C7e is extremely accurate and articulate.

The Miktek C7e is hand assembled, tested and packaged in Nashville, Tennessee, USA using components from the US, Europe and Asia. Each microphone includes its serialized frequency response graph created during final testing.

The C7e is packaged with its swivel mount, in a wooden box, and set inside a rugged aluminum case along with the included shock mount.

Miktek C7e Key Features:

  • MK7 Dual 1-inch Capsule 5-micron Mylar, Evaporated Gold Diaphragms
  • Cardioid, Omni and Bidirectional Pick-up Patterns
  • High-pass Filter & -10dB Pad Switches
  • Variable Capsule Bias Voltage: 48 – 60v
  • AMI T7 Transformer
  • Individual serialized Frequency Response Graph
  • Wood Presentation Case with Swivel-mount, Shock-mount and rugged aluminum Carrying Case
  • Shipping Dims : 14” x 14” x 7” Shipping Weights:

BAE 500C FET Compressor 500 Series Module

500-series compatible FET compressor that's robust and musical.

Based on the design of studio staple FET compressors of the ’60s and ’70s heard on countless hit records, the 500C features controls for input and output gain, plus the four selectable, time-honored compression rations of 4:1, 8:1, 12:1, and 20:1.

In addition to taming peaks, its premium components and classic circuit design add highly desireable analog warmth to your signal, making it an all-star for everything from drums to bass to vocals. Like all BAE Audio gear, the 500C is hand-wired in California to ensure the highest possible quality control.

BAE 500C features:

  • FET gain reduction
  • Three 2520 style opamps
  • Transformer coupled output
  • Feedback style peak limiter
  • SC HPF
  • Hard bypass
  • Gain Reduction on/off
  • Comp ratios: 2:1, 4:1, 8:1, 12:1, 20:1, ABI
  • ABI All Buttons In
  • Fully enclosed
  • High quality components throughout
  • Hand-made in the USA

Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.


Who’s Using BAE:

"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre's, EQ's, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark's (Loughman) new ownership in the company. I forecast excellent things to come. — Ross Hogarth, Grammy-winning producer-engineer

"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I've ever heard." — Steven Slate Drums

“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre's with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)

“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — Jane Wiedlin, The Go-Go's

“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – Bootsy Collins

“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we've had blind fold audio "shoot out" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — Andy Kravitz, drummer, producer, engineer

Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)

About BAE (British Audio Engineering)

Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out RSPE’s Designer’s Perspective feature and get a first-hand look at the inner workings of BAE.

Add classic FET compression to your 500-series rack with BAE’s 500C. Check out RSPE’s Rack Revolution custom 500-series module builder and get started now, or call or chat with an RSPE representative today.

Sunset Sound S1P Tutti 500 Series Discrete Mic Pre Blue Microphones Robbie Mic Preamp BAE 312A Single Channel Microphone Preamp with Power Supply

Sunset Sound S1P Tutti – 500 Series Preamp

A 500-series issue of the preamps found in the custom API consoles at Sunset Sound Studios.

If the name Sunset Sound S1P Tutti rings familiar, that’s because the Sunset Sound in question is none other than Hollywood’s famous Sunset Sound recording studio. And “Tutti” in this case does not mean full orchestra; rather it pays homage to Sunset’s founder, Tutti Camarata. The Sunset Sound S1P Tutti is a 500-series mic/instrument preamp that celebrates 50 years of recordings, including albums by The Doors, Van Halen, Sheryl Crow, Led Zeppelin, and the Wallflowers. Famous for its vocal-recording quality, the S1P is based on the preamp used in the massive API console in Studio A where so many famous vocalists have recorded.
The Sunset Sound S1P uses dual Hardy 990 op amps and two custom-made Cinemag nickel transformers (in-out) built to the same specifications as the originals made by Ed Reichenbach, father of Cinemag’s Tom Reichenbach. Before the release of the S1P preamp, the only way to get that custom API-De Medio preamp sound was to record at Sunset Sound. Thanks to the S1P’s modular 500-series format, Sunset Sound comes to you.

Sunset Sound S1P Tutti unique features:

  • Same design used in the Sunset API/De Medio consoles
  • Dual Hardy 990 op-amps
  • Custom Cinemag nickel transformers

Sunset Sound S1P Tutti key features:

  • Greater than 60dB of Gain
  • 10Hz to 60kHz FLAT
  • Distortion less than .02%
  • Clips at +28dBu
  • Signal/overload Indicator
  • Selectable input gain, 10dB steps
  • Adjustable gain trim, +/- 6dB
  • Output fader control
  • Front and Rear XLR Mic input
  • Hi-Z/INST front-panel input
  • Made in the USA

Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.


INSIDE THE BOX — Sunset Sound S1P Tutti Preamp

In the early days of Sunset Sound, there were no commercial consoles available. All recording studio consoles were custom made. Designers such as Dean Jensen, Frank De Medio, Eric Benton, and Bob Bushnell were kept pretty busy in LA designing custom consoles using Saul Walker’s API modules. Custom API consoles were built for recording facilities such as CBS in-house studios, Fox sound stages, Sunset Sound, Hollywood Sound Recorders, and Oceanway Studios, to name a few. Many of these consoles are still in use today, including the two custom API consoles designed by Frank De Medio, Eric Benton, and Deane Jensen at Sunset Sound.

It is from these consoles that spring the Sunset Sound S1P “Tutti” 50th Anniversary preamp. The Sunset Sound S1P Tutti mic/line preamp is 100% discrete and draws less than 100ma, making it quite friendly with 500-series power racks. It features components such as the Hardy 990 discrete op-amp, considered to be the finest op-amp available for audio applications. The Hardy 990 is based on the original 990 designed by Deane Jensen of Jensen Transformers, for he was awarded a patent. The Hardy 990 offers several important changes and improvements over the original Jensen design.

The Sunset Sound S1P also features the same custom transformers built by Ed Reichenbach, whose son, Tom, founded Cinemag, the company that built the custom transformers currently found in the S1P.

OUTSIDE THE BOX — Sunset Sound S1P Tutti Preamp

The sunset gold faceplate of the 500-series S1P “Tutti” mic/instrument preamp features the following controls, including Gain from 10-60dB, ±6dB trim; a fader-like rotary output that allows you to hit the preamp hard for a thicker, more aggressive sound and adjust output to prevent distorting ADAs; a front-panel XLR/1/4" input for mic, line, or instrument; plus phase reverse and phantom power.

Who’s using Sunset Sound:

Perhaps it would be more accurate to say, who’s recorded at Sunset Sound and used the console preamps:

Studio 1: Van Halen, Paul McCartney, James Taylor, Macy Gray, Bee Gees, Doobie Bros., Whitney Houston, Barry Manilow, Oingo Boingo, Luis Miguel, Rolling Stones, Dave Grusin, Crosby, Stills, Nash, Lee Ritenour, Fourplay, Richard Thompson, Yes, Brian Wilson, Beach Boys, Annette Funicello, Carly Simon, Miles Davis, Louis Armstrong, Bangles, Fishbone, Randy Newman, Sly & Family Stone, “Fabulous Baker Boys”, Vonda Shepard, Tom Petty, “The Firm”, Sheena Easton, Patti Austin, Aaron Neville, “Mary Poppins”, Sam Cooke, The Turtles, “101 Dalmations”, Lovin» Spoonful, Buffalo Springfield, Janis Joplin, Genesis, Kenny Loggins, Jackson Browne, “My Best Friend»s Wedding”, Reel Big Fish, “Dr. Doolittle”, “The Truman Show”, and “Tootsie”

Studio 2: Van Halen, Led Zeppelin IV, Sheryl Crow, Smashing Pumpkins, Matthew Sweet, Ringo Starr, Elton John, Celine Dion, Earl Klugh, Alanis Morrisette, Michael Jackson, Toto, Lita Ford, Robert Palmer, “Dick Tracy”, “Dune”, “Days Of Thunder”, “Rocky II & IV”, Ry Cooder, Richard Marx, Aretha Franklin, Tom Waits, Neil Young, Crowded House, Bob Dylan, Jennifer Holliday, Olivia Newton-John, Melissa Manchester, Barbra Streisand, Roberta Flack, Rick James, “Major League”, “Great Balls Of Fire”, Michael Feinstein, “Wayne»s World”, “Wayne»s World II”, Alice Cooper (Muscle »73), Leo Sayer, “The Waterboy”, “The Big Lebowski”, “Pleasantville”, Doyle Bramhall, Weezer, “The Prince Of Egypt”, DDT, Poison, and Andy Williams

Studio 3: The Surfers, Elliott Smith, Social Distortion, Sugar Ray, Mary Lou Lord, “Midnight In The Garden Of Good & Evil”, Earth Wind & Fire, Prince, Dan Fogelberg, Hiroshima, Rancid, k d lang, The Wallflowers, Beck, Mr. Mister, Stevie Nicks, Belinda Carlisle, Kix, Desert Rose Band, Air Supply, Counting Crows, Deborah Harry, Jody Watley, Neil Diamond, Rita Coolidge, Lionel Ritchie, Sam Phillips, Fleetwood Mac, Tom Jones, Van Dyke Parks, Gillian Welch, The Refreshments, Dolly Parton, Kenny Rogers, Thisway, and Melissa Etheridge

Convinced?

About Sunset Sound

“Why would I want to own a studio,” Walt Disney responded to the suggestion of his company’s director of recording Tutti Camarata. “I’d rather be a client.” Was this gentle Walt’s way of asking his music man to seek employment elsewhere, or a subtle nudge to encourage entrepreneurship? Tutti presumed the latter, and so it began. It was a perfect little brick structure, once an automotive repair garage. The walls, ceiling, and floor all slanted toward one corner of the cavern where the excess automobile fluids trickled into a drain. Non-parallel surfaces are ideal for acoustic control—and ideal for a studio! Tutti kicked the tires a few times and declared, “I’ll take it!” Little did he know that the small step he took in 1958 on Sunset Boulevard in Hollywood would soon be joined by the stampede of giants.

If you can’t go to Sunset Sound, let Sunset Sound come to your studio—put an S1P Tutti preamp or two in your 500-series rack. For more information, call or chat with an RSPE representative today.

Complete the Circuit

Simplicity of design. Purity of sound. Robbie is Blue's Class-A discrete tube microphone and instrument preamplifier. All of the technical quality and design innovation that goes into their line of award-winning microphones has been engineered into making Robbie the finest tube preamp available today. With no ICs and only the highest-quality discrete components from input to output, Robbie is one of the quietest (-131 dB EIN @ 50 ohms) and most detailed (THD 0.006%) tube preamps available today. It features audiophile-grade ultra low noise metal film resistors and polystyrene capacitors, and provides the user with the best of both worlds: an electronically-balanced, fully discrete input stage, tube gain stage (ECC88 twin triode), and an electronically-balanced solid-state output stage. There is no switching crossover distortion anywhere in the completely balanced audio signal path. And if that's not enough, Robbie achieves and amazing 34dB headroom before clipping! Designed from the ground up, this limited production mic pre is like nothing else commercially available today.

BAE 312A Single-Channel Mic Pre/DI with Power Supply

Stunning, single-channel preamp in a 19" 1RU version delivers punch, clarity, and that famous steel-transformer API growl

The BAE 312A 500-series mic preamp is a spot-on replica of the famous API 312 preamps that populated the early API consoles. Key to the API 312’s sound was the absence of a coupling capacitor between output transformer and opamp, which allowed transients to pass easily, making it a favorite for punchy snare and toms. The early 312s owed their sound in large degree to the API 2520 opamp, which underwent numerous changes throughout the years as component manufactures discontinued lines or changed specs—but API adapted as necessary to maintain the classic 312 sound. So how does the BAE opamp compare to the original API? BAE never stops short of getting right and the Avedis 1122 opamp found in the BAE 312A takes the performance of the API 2520 opamp to a higher level. The BAE 312A gives you all the vintage punch, sound and fury that made the original 312 a classic, and adds reliable, modern performance to boot.

BAE 312A Single-Channel Mic Pre/DI features:

  • The extremely popular vintage sound of the API 312 mic preamp
  • Avedis 1122 opamp improves on the performance of the 2520 opamp
  • Jensen input and output transformers
  • Switches have gold contacts for long life
  • XLR connectors on the back for mic input and output and phone jack in front for direct input
  • High-impedance direct input for guitar and synthesizer
  • Separate front panel switches for phantom power
Back in the ’70s there were two major players in console manufacture (three if you count Electrodyne, which disappeared early-on due to mismanagement). The Neve name inspired awe among engineers and musicians alike, and had emerged as the primary force in console making to be reckoned with. Much like John Cougar Mellencamp was signed as the American answer to David Bowie, Saul Walker’s Automated Processes Inc. (API) consoles were the American answer to Mr. Rupert Neve’s eponymous consoles. Both desks defined the sound of rock and roll in their own way, with preamps of elegant simplicity that provided the power and punch that rock and roll would continue to thrive on to this day.

Inside the Box

Like all BAE products, the 500-series compatible BAE 312A Mic Pre/DI is made with the highest quality parts, including Jensen input and output transformers and the Avedis 1122 opamp. When discussing API preamps, the important distinction between the 312 and later 512C is the use of coupling capacitors between the output transformer and opamp. The reason for the 312’s success (it’s open punchy sound, particularly on drums) was also its greatest weakness. The 312 had no coupling capacitor between opamp and transformer. As such, if the opamp had any DC offset (a voltage output above the mean amplitude), it might burn out the transformer. The 512C had large coupling capacitor in parallel with a high-frequency capacitor and a resistor for transformer damping. The 512’s opamp also had a servo to eliminate DC offset. The result was increased headroom and the elimination of pops when the phase switch was cut in. Of course, the addition of these components led to a perceived sonic difference between the two. Those who have worked with both often hear the 312 as more open and punchy than the 512C.

To support the fast transient response of the capacitor-less 312A, the BAE 312A uses the Avedis 1122 opamp. The Avedis 1122 is a high-performance, direct-coupled operational amplifier designed specifically for professional audio amplifier applications. The 1122’s were originally made for replacement opamps in the repair of vintage API 312 and 512A mic preamps. It’s based on the same design principles as the 2520, but built with today's high-quality components, to make it operable under a wider voltage range and with lower noise than previously possible. Using no IC's, JFET's, or surface-mount components, the 1122 opamp is picks up where the 2520 left off. Its high output power, low distortion, and wide power bandwidth provides the kind of performance levels appreciated by the working professional.

Outside the Box

The front panel of the BAE 312A mic pre has a matte black finish with orange BAE logo. It has a 1/4" Hi-Z instrument input; buttons for phase reverse, pad, and +48V phantom power; and gain knob. Your basic no-frills design, it’s what’s inside the BAE 312A that counts.

External 24V PSU

The BAE 312A Single-Channel Mic Pre/DI requires the external BAE 24V PSU (not included) to operate. For optimal sound quality, the BAE 24V PSU provides four times the current necessary to power a preamp, and can power up to two BAE rackmount units*. While other rackmount preamps use an internal power supply, BAE chooses to go a different route in the form of an external PSU. The advantages of an external PSU are many. To begin with, not having space constraints allows BAE to design the power supply without compromise. Plus, it makes the shielding concerns of integrated power supplies a non-issue. When power supplies are built into the same chassis as the audio circuitry, nearby audio paths are susceptible to nasty magnetic fields radiated from the transformers, which adds noise and hum. Additionally, the preamp’s components are subject to extra heat generated from transformers, regulators, and rectifiers—and as we all know, heat is the enemy of electronics. It causes unwanted changes in operational parameters and premature component failure.

Since the BAE 24V PSU can power up to two BAE units, the BAE 312A comes with and without power supply in case you already have a BAE unit and power supply. (For BAE 312A without power supply, see BAE 312A Single - PSU and BAE 312A Dual - PSU)

Who’s Using BAE:

"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre's, EQ's, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark's (Loughman) new ownership in the company. I forecast excellent things to come. — Ross Hogarth, Grammy-winning producer-engineer

"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I've ever heard." — Steven Slate Drums

“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre's with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)

“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — Jane Wiedlin, The Go-Go's

“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – Bootsy Collins

“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we've had blind fold audio "shoot out" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — Andy Kravitz, drummer, producer, engineer

Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)

About BAE (British Audio Engineering)

Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out RSPE’s Designer’s Perspective feature and get a first-hand look at the inner workings of BAE.

Add the classic API growl and punch to your recordings with BAE’s single-channel 312A Mic Pre/DI. Call or chat with an RSPE representative today.

API 527 Compressor/Limiter Module A-Designs EM-PEQ 500-Series Compatible Equalizer Daking EQ 500
API 527 Compressor/Limiter Module
LIST: $1,095.00
PRICE: $1,040.25
Daking EQ 500
LIST: $1,195.00
PRICE: $1,095.00
The API 527 takes it's place alongside the family of API VCA based compressors, the 225L and the 2500 Stereo Bus Compressor. Anyone familiar with those units will immediately be at home with the 527. Features common to the line like "feed forward" (NEW) and "feed back" (OLD) gain reduction methods selectable on the front panel, provide a choice of "that old way", or "the new way" of compression, for the highest level of flexibility in signal gain control. The "old way" or Feed-Back method is what most of the classic compressors used for the gain control circuit. The "new way" gain reduction is more typical of the newer VCA type compressors that rely on RMS detectors for the gain control voltage.

There is a "SOFT"/"HARD" switch for an "over-easy" type compression resulting in a very natural, uncompressed sound or a typical sharp knee type that lends itself to a much more severe limiting effect.

The Threshold control sets the initial operating parameter. The 527 can be operated with signal input levels from +10 dBu to -20 dBu.

The 527 features an Output fader control that ranges from minus infinity to +10dB, and output capability is +28 dBu through our 2520 discrete amplifier and a large API output transformer. The output level remains fairly constant regardless of the threshold or ratio control, much like the "more/less" Ceiling control on the API 525 compressor. This allows for live adjustments without any noticeable gain changes in the program level.

The patented THRUST function can be switched in and out via the front panel as well, applying a high pass filter before the RMS detector circuit that preserves that punchy bottom end.

Attack and Release are fully adjustable on the 527. Release time can be adjusted by rotating the inner concentric RELEASE knob. Release time constants: .3 sec to 3 sec. Attack time is adjusted on the outer concentric ATTACK knob, which ranges from 1 millisecond to 25 milliseconds.

The 527 is designed for individual channel use or, through the use of the LINK switch, two units can be combined for Stereo applications via a motherboard bus connection.

The 527 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.


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.

A 500-Series module that captures the essence of the classic Pultec EQP-1A sound One of the most venerated equalizers of all time, the all-tube Pultec EQP-1A has been cherished by recording and mastering engineers for its almost magical ability to improve the sound of nearly any signal running through it. Now, after considerable research and development, the A-Designs Audio EM-PEQ has captured the essence of the highly revered Pultec EQP-1A and placed it in the compact and popular 500-Series form*—with no compromise in sonics or build quality.

Along with modern performance enhancements, the A-Designs Audio EM-PEQ meticulously maintains the EQ-section design and control layout of the original Pultec EQP-1A, as well as its wonderfully smooth musicality. It also has the same frequency settings and inductors that made the Pultec a must-have for capturing the bottom end. Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s immensely popular solid-state Pacifica mic preamp—putting a slightly unique and modern twist on the classic design of yesteryear.

The EM-PEQ’s controls attenuate high band at 5k, 10k, 20kHz; vary bandwidth AND boost mid to high band at 3k, 4k, 5k, 6k, 10k, 12k, 16kHz; and boost or attenuate the low band at 20Hz, 30Hz, 60Hz, or 100Hz. Boost and attenuation range from 0dB to ±10dB.

Additional features of the EM-PEQ include a nickel-core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard-wired bypass. Plus, instead of using common off-the-shelf chokes, A-Designs uses a custom tapped inductor, wound to the original values as the original Pultec. Along with the classic EQ circuitry, layout, and exceptionally musical sound of the classic Pultec, the EM-PEQ offers fully balanced, noise-free performance and modern impedance specs for easy operation and fast studio integration.

In the world of pro audio recording, there are two types of equalizers: those that you don’t want to hear in action (“surgical or corrective EQ), and those that you do (“color, or character” EQ). The EM-PEQ is one you most definitely do. Unlike any other 500-Series equalizer, the A-Designs EM-PEQ sits on the extreme end of the “character” bench. It focuses on “correcting” that which cannot be fixed by so-called surgical EQs: the enhancement of tone and musicality.

The EM-PEQ is also available as the EM-EQ2, a 2-channel, 2U rackmount version offered at the same price as two EM-PEQs and a 500HR power rack. Whether you prefer to work with the 500-Series form factor or standard rackmount format, both the EM-PEQ and EM-EQ2 are identical in both sound quality and functionality.

* The EM-PEQ is an approved API™ VPR Alliance product and may also be used in Brent Averill Enterprises racks, and the 2-bay A-Designs Audio’s 500 HR power supply/rack. The EM-PEQ requires 48V to operate. Please check your power rack for this feature before purchasing an EM-PEQ


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.

The Daking EQ500 is an inductor based Parametric Equalizer designed for the 500 series format.

Based on the renowned EQ section of the Daking Mic Pre EQ, its four bands have all the frequencies that a mixing or tracking engineer will typically find to be his or her "go to" frequencies. Each band has an "out" position, rather than relying on center detent pots, which are typically less accurate than a simple bypass.

Easy to use, and famously "sweet" sounding, the Daking EQ500 is the perfect addition to your 500 series rack.


Don’t forget to check out RSPE’s Rack Revolution, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.