Amphion’s philosophy is to develop innovative products with high-performance and longevity. Amp700 delivers rock-solid control and tight, fast, high-resolving power to get maximum performance from your monitors. Amp700 provides 2 x 350 W for 8 ohm, and 2 x 700 W for 4 ohm load, which gives plenty of headroom for the highest level of performance.
6284 products
Akai Professional MPK249 - Usb/Midi Keyboard Controller
Regular price $599.00 Sale price $469.00 Save $130.00Experience expanded control of your VST instrument and effect collection with MPK249 and Akai Pro VIP3.0 (Free Download Included a $99.99 Value). VIP3.0 provides you with unparalleled access to your virtual instrument and effect collection, seamlessly integrating the hardware / software experience and grants the unrestricted freedom to create in a user-friendly, intuitive format. The combination of VIP and MPK249 maximizes workflow and ensures a playing experience that feels natural and enhances creativity – the natural, tactile feel of hardware fused with the unrivalled processing capability of virtual Instruments. Quickly find sounds based on instrument type, timbre, style or articulation from your entire VST library; sculpt immersive, expressive sounds and textures layering up to 8 separate instruments and patches per VIP instance; load up to 4 different VST effects per instrument channel to sculpt the perfect sound; put power into your performance with Pad Chord Progressions and user-friendly Key Control processors; and much more. From live performance to studio production, VIP’s user-friendly functionality coupled with a diverse feature set guarantees simple, seamless integration into your existing setup and provides the ultimate platform for unrestricted creative expression.
MPC 2.0 UPGRADE READY (Optional)
We are pleased to announce that the critically acclaimed MPC Software 2.0 upgrade is now available to purchase for your MPK, greatly enhancing the capability and functionality from the included MPC Beats software.
To see your upgrade path, click here.
MPC Software 2.0 is a cutting-edge production suite combining 128-track sequencing capability, real-time time stretching, clip-launch functionality, advanced MIDI editing capability, VST compatibility in controller mode, operation as a standalone application on Mac & PC, advanced sampling & audio editing/recording functionality, seamless DAW integration, a redesigned GUI, Ableton Link Compatibility and much more. Whether you're seeking freedom from computer based music production, or searching for the perfect controller for DAW-centric creative exploration, MPC Software 2.0 grants the ultimate in adaptive creative versatility.
You're In Control
Engineered to be an all-in-one controller solution, the Akai Professional MPK249 is a performance pad and keyboard controller that combines deep software integration, enhanced workflow, and core technologies from the iconic line of MPC workstations. Each member of Akai Pro's MPK series comes fully loaded with a comprehensive interface for manipulating virtual instruments, effect plugins, DAWs, and more. MPK249 features 49 semi-weighted keys with aftertouch, 8 assignable knobs, faders, and switches, 16 MPC-style pads with RGB feedback, and onboard transport buttons. Three banks expand the number of knobs, faders, and switches (up to 24 each), and four pad banks expand the number of pads (up to 64 total). Plus, MPK249 is optimized to interface directly with your Mac or PC with USB power and plug-and-play connectivity.
Made To Play
MPK249 comes equipped with 49 semi-weighted, full-size keys and a premium piano-style keybed for unprecedented response and natural feel. Each key is velocity-sensitive and outfitted with aftertouch for dynamic, expressive performances and recordings. In addition, onboard Octave Up and Down controls allow players to access the entire melodic range; play bass lines, piano harmony, solo leads and much more.
Genuine MPC Functionality
Classic MPC Swing, MPC Note Repeat, MPC Full Level, and 16 Levels are all onboard for further inspiration. With MPK249, musicians and composers can incorporate genuine MPC workflow into their productions and create with the tools that producers have relied on for years: MPC Swing lets MPK249 users obtain that tight, organic groove that made Akai Pro’s groundbreaking MPC music-making machines so legendary. MPC Note Repeat and 16 Levels make it easy to build beats and construct short melodic sequences using the MPC-style pads. In addition, an arpeggiator, with adjustable resolution, range, and patterns, enables users to explore complex melodic ideas, effortlessly.
Production Software
MPK249 is armed with powerful production software—Ableton Live Lite and MPC Beats—for out-of-the-box music creation. Ableton Live Lite is a fluid audio/MIDI environment that enables musicians and producers to spontaneously compose, record, remix, improvise, and edit musical ideas. MPC Beats is a free and fully featured beat making DAW software for both Mac and PC based on the legendary MPC workflow. It also works as a VST plugin inside any major DAW. From the moment you install MPC Beats, you're ready to start creating, fast. Utilize over 2GB worth of content including samples, loops, and built-in virtual instrument plugins to craft your sound. Experience plug and play compatibility with all class-compliant USB controllers. MPC Beats has plenty of power for ambitious creators with over 80 audio FX plugins to warp, manipulate and transform audio into whatever you can think of. Plus VST/AU compatibility means there's room to expand your sonic palette with compatible third-party virtual instrument plugins and audio processing plugins. You can even record instruments or vocals with 2 stereo audio tracks to add live elements to your music.
World Class Software Suite Included
Comprehensive production software package for Mac and PC included - MPC Beats, MPC Beats Expansions, Ableton Live Lite, Hybrid 3 and Xpand!2 by AIR Music Tech (downloads).
Ableton Live Lite is a trademark of Ableton AG. Akai Professional, AIR Music Technology, and MPC are registered trademarks of inMusic Brands Inc., registered in the U.S. and other countries. inMusic is the exclusive distributor of SONiVOX.
ADDITIONAL FEATURES
- 49 semi-weighted, full-size keys with aftertouch
- 16 RGB-illuminated MPC pads each with 4 banks for 64 pads
- 24 assignable Q-Link controllers include knobs, faders, and switches (8 of each)
- Revamped control layout with backlit LCD screen
- iOS compatibility using the Apple iPad Camera Connection Kit (sold separately)
- USB-MIDI with 5-pin MIDI input & output
- Comprehensive transport and parameter controls for hands-on DAW integration
- MPC Note Repeat, MPC Swing, and arpeggiator for advanced rhythmic and melodic manipulation
- MPC Full Level, 16 Levels, Tap Tempo, and Time Division assist with dynamics and tempo
- Pitch bend, modulation, and octave controls for expressive recording and performing
- 1 assignable footswitch jack and 1 expression jack
- USB power and plug-and-play connectivity
- Production software package included: Ableton Live Lite, Hybrid 3 by AIR Music Tech, SONiVOX Twist 2.0, and MPC Beats (downloads)
- Includes VIP3.0 - the ground-breaking, award-winning music software platform that provides musicians and composers with a powerful hands-on control solution for their virtual instrument and virtual effect collection
KEY SPECS
Keys
- 49 semi-weighted, full-size keys with aftertouch
Pads
- 16 pressure- and velocity-sensitive
- light-up MPC-style pads x 4 banks
Q-Link Controls
- 8 control knobs
- 8 faders
- 8 backlit switches
Computer Interface
- USB-MIDI with 5-pin MIDI input & output
Octaves
- 10 with Octave Up and Down
Arpeggiator
- Yes
Additional Controls
- MPC Note Repeat
- MPC Swing
- MPC Full Level
- 16 Levels
- Tap Tempo
- Time Division
Additional Inputs
- (1) 1/4" (6.35mm) TRS expression pedal input
- (1) 1/4" (6.35mm) TS sustain pedal or footswitch input
Power
- USB power; no power adapter required
Dimensions
- 29" x 12.25" x 3.38" (WxDxH)
Weight
- 12.6 lbs
Akai Professional MPKMINIPLUS - 37 KEY - RGB PADS USB MINI CONTROLLER
Regular price $349.00 Sale price $169.00 Save $180.00The new MPK Mini Plus empowers musicians and Live Performers with full creative control delivering ultimate feel and expression. Along with next generation performance tools, advanced connectivity easily and fully unites all your favorite studio devices for complete and expanded hardware integration in a compact 3-octave design.
- 37-key Gen 2 Dynamic Keybed
- 8 RGB-backlit MPC Drum Pads
- Step Sequencer
- CV/Gate I/O
- 5-pin MIDI In/MIDI Out
- Dedicated Pitch Bend and Modulation Wheels
- Assignable Joystick Controller
- DAW Transport Controls
- 8 Assignable Rotary Knobs
37 KEYS - GEN 2 DYNAMIC KEYBED
MPK Mini Plus features 37 keys with the Gen 2 Dynamic Keybed for expanded melodic and harmonic creation. 3 full octaves for two-handed chords, arpeggiation, solos and soundscapes on incredibly playable keys with a wider velocity range, delivering a world-class level of note dynamics and response.
CREATIVE STEP/LIVE SEQUENCER / ARPEGGIATOR
For those creative moments or DAW-less jams sessions, the onboard polyphonic 2-track step/live Sequencer captures new melodic and drum patterns on the fly. 8 notes of polyphony per step, 16 notes per Drum Step and an onboard Arpeggiator offer endless creative possibilities.
REAL MPC DRUM PADS
8 velocity-sensitive RGB-backlit MPC Drum Pads are the backbone for not only playing dynamic beats and programming drums, but for also assigning program changes and triggering additional CC parameters.
ASSIGNABLE 360-ROTARY KNOBS
Dial in effects with the 8 assignable 360-rotary knobs for every function including filters, automation, pan controls, and more. Add depth and dimension to your tracks by writing precise automation.
CHORDS AND SCALES MODES
MPK Mini Plus features two modes to help simplify and accurately enhance your performances. Chords Mode plays multiple notes and inversions with a single key, and Scales Mode enables the keybed to play notes only in the selected scale. For both modes, many creative options are available along with 15 scale settings.
TRANSPORT CONTROLS
The MPK Mini Plus has dedicated Transport Controls for total integration into your DAW. Transport Controls help you stay engaged in the creative workflow with dedicated Play, Stop, Record, Loop, and Locator buttons.
REAL PITCH AND MODULATION WHEELS
With more keys, your music will need new ways to add feel and expression, so the MPK Mini Plus adds dedicated Pitch Bend and Modulation Wheel controllers to help all keyboard performances truly come alive.
ASSIGNABLE JOYSTICK CONTROLLER
For even more expression, assign parameters to the Joystick’s X/Y axis and morph between effects to create unique and interesting textures in your productions. Assign up to 4 parameters to the Joystick right from the keyboard itself.
USB, 5-PIN MIDI, CV/GATE CONNECTORS
Connect to any Class-Compliant USB or 5-pin MIDI device and use the CV/Gate connectors and Sync I/O to trigger and control your Euro-rack and other modular synths. The MPK Mini Plus is versatile enough for any musician wanting to get the most out of their favorite DAW, VST instruments and analog gear.
DAW CONTROL MAPPING
MPK Mini Plus can be mapped to your favorite DAW such as FL, Logic, and Ableton—giving you all the portable creative control you need. Take advantage of controlling your Transport, macros, mixing environments and even writing automation for your favorite plugin effects and instruments.
INCLUDES MPC BEATS SOFTWARE DAW
Includes the powerful MPC Beats software DAW, based on the legendary MPC hardware. Turn your computer into a professional recording studio with the MPC Beats software featuring all the drum sounds, samples, plugin instruments, and insert effects needed to create modern, professional music.
Akai Professional MPX8 - SD Card Sample Player/Midi Controller
Regular price $199.00 Sale price $109.00 Save $90.00Sample simplicity.
Load virtually any sample via standard SD or SDHC card and assign it to any of the MPX8’s eight backlit velocity- and pressure-sensitive pads.
It’s that simple.
Use it in the studio. Use it live on stage or on air. MPX8 packs proven Akai Pro technology into a compact, durable design that’s built to perform.
Control Software & MIDI Gear
MPX8 also has USB MIDI plus standard MIDI inputs and outputs. Control everything from music software on your laptop to outboard MIDI gear. The included USB cable and 1/8"-to-MIDI adapter make it easy to connect.
Edit with Ease
With the included sample kit editor, you can easily arrange, tune, and add reverb to your samples on your Mac or PC before loading them onto MPX8. The editor’s drag-and-drop functionality makes loading your samples as easy as possible.
Get in the Loops
MPX8 also comes with a free Loop Library download from Akai Pro, plus a large library of standard samples built in, which can be used for live performance in front of a crowd, on a radio show, or for in-studio production.
Lose the Luggage
It’s compact, easy to load, and ready to go. MPX8 packs the sounds you need under great-feeling pads inside a solid Akai Pro design. You get quick and convenient one-touch access to a virtually unlimited number of sounds, shots, stabs, and drops. It’s that simple.
SD and SDHC cards sold separately.
ADDITIONAL FEATURES
- Add mono or stereo samples via standard SD card (sold separately)
- 8 velocity-sensitive and pressure-sensitive pads
- USB MIDI plus standard MIDI inputs and outputs
- Also controls computer MIDI software and outboard MIDI gear
- Drag-and-drop sample kit editor for Mac® and PC included
- Built-in library of popular sounds and samples
- Includes additional free Akai Pro loop library download
- Tune, add reverb, and save sample sets for easy recall
- (2) Balanced 1/4-inch outputs (6.35mm)
- 1/8-inch headphone output (3.5mm)
KEY SPECS
Audio Outputs
- (2) TRS 1/4" (balanced)
- (1) 1/8" (3.5mm) headphone
MIDI I/O
- MIDI over USB, 5-Pin DIN via 1/8" (3.5mm) MIDI in and out (cable included)
Pads
- 8 velocity sensitive
Sounds
- 21 internal (virtually unlimited via sd card)
- 8 Sounds Accessible via Pads
Polyphony
- 8-voice
Panning
- 9-position user programmable
Other Features
- Reverb and sample tune and 3 different trigger types
Power
- Input 5VDC 1000mA via USB
Weight
- 1lb ( 0.45kg)
Dimensions
- 11.6" x 4" x 1.3"
AKG C12VR
Regular price $9,002.29 Sale price $7,199.00 Save $1,803.29THE HOLY GRAIL OF MICROPHONES
Legendary tube sound for lead vocals, brass instruments and electric guitars
The C12 VR is an enhanced version of the original C12, from the capsule sound to the original 6072A vacuum tube carefully handcrafted in Vienna, Austria.
The legendary AKG sound used on dozens of number-1-hits
an enhanced version of the highly sought-after AKG C12 built 1953-1960
Edge-terminated CK12 capsule and original 6072A vacuum tube
provide a sound that is simply beyond words
Selected state-of-the-art components
ensure low noise and reliable operation
Nine remotely selectable polar patterns
for maximum flexibility and ease of use
Carefully handcrafted in Vienna, Austria
meticulous attention to detail ensures highest quality
AKG C414-XL II
Regular price $1,655.44 Sale price $1,319.00 Save $336.44The C 414 XL II (the successor of the famous C 414 B-TL II) differs from the C 414 XLS by offering a slight presence boost and by providing the spatial reproduction capability of the legendary AKG C 12 microphone. This characteristic response and spatial detailing makes lead vocals and solo instruments stand out, even in a densely packed mix. This signature up-front sound is also excellent for distant miking applications making the C 414 XL II ideal for classic music recording or drum ambience miking. And because of its 9-pattern design, leading-edge technology, state-of-the-art components, and reference-quality results, the AKG C 414 XL II ushers in a new standard in microphone versatility.
The C414 XL II offers nine pickup patterns which enable you to choose the perfect setting for every application. In addition to the five patterns traditionally offered by the C 414 (omnidirectional, wide cardioid, cardioid, hypercardioid, and figure eight), you also get four intermediate settings that let you dial in the best pattern to suite your environment. It also features an astoundingly low noise floor and a 152dB dynamic range, making the C 414 XL II ideal for any musical environment. A locking mode allows you to disable all of the C 414 XL II's controls for live-sound applications and permanent installations, and a special "Peak Hold" LED displays even shortest overload peaks.
AKG C414-XLS
Regular price $1,655.44 Sale price $1,319.00 Save $336.44From the leading broadcast facilities world-wide to the recording studios and the performance stages that have hosted the top musical artists of all genres for more than 60 years, the AKG C 414 multi-pattern condenser microphone needs little introduction. There are few microphones that are as widely accepted as a de facto part of any professional engineer's mic locker as this famous microphone. Part of what has maintained the C 414 as an industry standard has been its impressive versatility, and AKG has pushed the envelope again with the addition of the C 414 XLS this famous line.
The C 414 XLS is an astonishing microphone. Engineered for highest linearity and neutral sound, it maintains the reliable sonic character of the legendary C 414 B-ULS (the longest-lived C 414 model) while introducing some astonishing new features. The 5-pattern C 414 has been one of the most universal and versatile large diaphragm microphone for decades — widely used for accurate, exquisitely detailed pickup of acoustic instruments. Now, the C 414 XLS sets a new benchmark in microphone versatility by introducing a 9-pattern design, while achieving reference-quality results through leading-edge technology and state-of-the-art components.
The C 414 XLS offers nine pickup patterns which enable you to choose the perfect setting for every application. In addition to the five patterns traditionally offered by the C 414 (omnidirectional, wide cardioid, cardioid, hypercardioid, and figure eight), you also get four intermediate settings that let you dial in the best pattern to suite your environment. It also features an astoundingly low noise floor and a 152dB dynamic range, making the C 414 XLS ideal for any musical environment. A locking mode allows you to disable all of the C 414 XLS's controls for live-sound applications and permanent installations, and a special "Peak Hold" LED displays even shortest overload peaks.
AKG C 414 XLS Multi-pattern Condenser Microphone Features at a Glance:
- Omni, wide cardioid, cardioid, hypercardioid, figure eight, and four intermediate pickup patterns
- Lock Mode disables all controls easily for live and installation use
- Incredible Dynamic Range of 152 dB
- Three different bass cut filters and three pre-attenuation levels
- Peak Hold LED even detects shortest overload peaks
- Includes carrying case, pop filter, windscreen, and spider-type shock mount
- Frequency range: 20 to 20 000 Hz
- Sensitivity: 20 mV/Pa (-34 dBV) +/- 0.5 dB
- Max. SPL: 200/400/800/1600 Pa = 140/146/152/158 dB (0/-6/-12/-18 dB) for 0.5% THD
- Equivalent noise level: 6 dB-A (0 dB preattenuation) (IEC 60268-4)
- Signal/noise ratio: 88 dB
- Preattenuation pad: 0 dB, -6 dB, -12 dB, -18 dB, switchable
- Bass cut filter slope: 12 dB/octave at 40 Hz and 80 Hz; 6 dB/octave at 160 Hz
- Impedance:
- Recommended load impedance: >= 2,200 ohms
- Supply voltage: 48 V phantom power to DIN/IEC
- Powering: approximately 4 mA
- Connector: 3-pin XLR to IEC
- Dimensions: 50 x 38 x 160 mm (2.0 x 1.5 x 6.3 in.)
- Net weight: 300g (10.6oz.)
AKG C451 B
Regular price $827.12 Sale price $659.00 Save $168.12With its airy sound, high overload limit and improved engineering details, the C451 B continues the success story of this legend. The roadworthy design around the handcrafted capsule and the low-noise preamp electronics ensure impressive results even under very harsh conditions.
Sound of the legendary C451 EB + CK1 capsule from 1969
delivers stunning sound quality with maximum accuracy
Established tour sound standard since the 1980s
for excellent sound quality even under harsh on-stage conditions
Impressive sound pressure level capability of 155dB SPL
allows close-miking of high-energy sound sources without distortion
Highly effective high-pass filter with 12dB/octave
prevents low-end distortion caused by rumble or wind noise
Transformerless preamp and surface mount technology
provides extremely low distortion, highest reliability and less weight
AKG D112 MKII
Regular price $298.92 Sale price $229.00 Save $69.92The D112 MkII professional dynamic bass drum microphone features a new integrated flexible mount, while retaining all the sonic strengths that have made it's predecessor the industry-standard. Over the years the D112 has earned a well-deserved reputation as one of the best bass drum microphones ever made, for its high SPL capability, punchy EQ and bulletproof construction.
The D112 MkII can handle more than 160 dB SPL without distortion. Its large diaphragm has a very low resonance frequency that delivers a solid and powerful response below 100 Hz. Its authoritative low end is complemented by a narrow-band presence boost at 4 kHz that punches through even dense mixes and loud stage volumes with forceful impact. One of the many reasons artists and sound engineers love the D112 MkII is that it requires no additional EQ to sound just right as soon as you bring up the fader. Further refining its performance, the D112 MkII features an integrated hum-compensation coil that keeps noise to an absolute minimum.
In addition to being an exceptional bass drum mic on stage and in the studio, the D112 MkII is an excellent choice for miking electric bass cabinets and trombones.
Integrated flexible mount
makes it even more versatile
Bass resonance volume chamber
for unique, punchy sound
Large diaphragm dynamic microphone
delivers accurate low frequencies
Integrated hum-compensation coil
keeps noise to an absolute minimum
Industry benchmark for bass drum microphone
used on stages worldwide for over 30 years
AKG K240 MKII
Regular price $226.89 Sale price $185.00 Save $41.89For more than three decades, professional engineers and musicians have made the K240 the most widely used headphones in studios and at live consoles around the world.
Over-ear design
for comfort during long work sessions
Semi-open technology
for solid bass and airy highs
Patented Varimotion 30 mm XXL transducer
for accurate signal transfer and great dynamic range
Self-adjusting headband
for optimum fit
The choice of professionals around the world
stage and studio standard for more than two decades
AKG K271 MKII
Regular price $346.93 Sale price $279.00 Save $67.93The K271 MKIIs feature a switch in the headband that mutes the audio just as soon as the headphones are taken off. They provide a professional mini XLR connector for quick replacement of the cable. The package includes a 3m (10ft) straight and 5m (16ft) coiled cable.
Over-ear design
maximum wearing comfort for long work sessions
Advanced closed technology
for high noise insulation, best possible sound reproduction
Auto-mute feature
mutes headphones when they are taken off
Sealed design with lowest signal bleeding
for vocal and instrument recordings without unwanted spill
Self-adjusting headband
for optimum fit and ease of use
![AKG K553 MKII - Studio Headphone](http://opticecho.myshopify.com/cdn/shop/files/K553MKII_{width}x.jpg?v=1717761682)
AKG K553 MKII - Studio Headphone
Regular price $299.00 Sale price $239.00 Save $60.00![AKG K612 Pro](http://opticecho.myshopify.com/cdn/shop/files/PRO_{width}x.png?v=1717761682)
AKG K612 Pro
Regular price $299.00 Sale price $239.00 Save $60.00Obvious features such as the self-adjusting real leather headband, aluminum arches and solid rivets not only provide a lightweight, maximum comfort fit, but also reinforce the quality AKG has provided to studio engineers for decades.
Over-ear design
for maximum wearing comfort for long work sessions
Sophisticated open technology
for spacious and airy sound without compromise
Patented Varimotion Diaphragm Technology
for high-quality imaging and sound
Genuine self-adjusting leather headband
for automatic fit and maximum wearing comfort
Computer-optimized neodymium magnets
for ultra-low transducer distortion
AKG K701
Regular price $671.06 Sale price $549.00 Save $122.06Revolutionary flat-wire voice coil technology
for extremely accurate sound and transient response
Patented Varimotion two-layer diaphragm
for sparkling highs and accurate bass response
Comfortable, specially shaped 3D-form ear pads
for perfect fit
Padded genuine-leather headband
Individually tested and numbered
![AKG K702](http://opticecho.myshopify.com/cdn/shop/files/948622596_677_6_{width}x.png?v=1717760491)
AKG K702
Regular price $527.00 Sale price $429.00 Save $98.00The K702's comfortable, specially shaped 3D-foam ear pads and a genuine-leather headband ensure a perfect fit. They provide a professional mini XLR connector for quick replacement of the cable. The K702s are individually tested and serial-numbered.
Over-ear design
maximum wearing comfort for long work sessions
Sophisticated open technology
for spacious and airy sound without compromise
Patented Varimotion two-layer diaphragm
for improved high-frequency range and better performance at low frequencies
Unique flat-wire voice coil
for higher sensitivity, better impulse and treble response
Specially shaped 3D-foam ear pads
for optimum fit and ease of use
AKG K812 Pro
Regular price $2,255.67 Sale price $1,819.00 Save $436.67
SIZE MATTERS
LARGE 53MM TRANSDUCER
The K812 transducer is the largest AKG has ever built. The 53 mm transducer was developed to push the boundaries, to get as close as possible to sonic perfection. During the development process, AKG developed the transducer from scratch in order to ensure the highest in-class headroom and dynamic range.
STRONG – STRONGER – K812
THE MOST ACCURATE IMAGING
With the strongest magnet system available on the market,the K812 provides the most precise and powerful experience possible. The 1.5 Tesla magnet system offers highly accurate imaging leading to pure, natural sound.
SUPERIOR IMPULSE RESPONSE
ULTRA-LIGHTWEIGHT TWO-LAYER VOICE COIL
The copper-covered aluminum voice coil extends sound beyond the limits of human auditory system, hitting a full spectrum of frequencies. With the ultra-lightweight two-layer voice coil a superior impulse response and an extended frequency range up to
54 kHz is guaranteed.
AKG K872 Pro
Regular price $2,255.67 Sale price $1,819.00 Save $436.67Optimized closed-back design with 53mm transducers
for greatest-in-class headroom and dynamic range
1.5 Tesla magnet system
for exceptionally accurate imaging and authoritative low-frequency performance
Two-layer voice coil
for superior extended 5 Hz – 54 kHz frequency range
Open-mesh headband
for remarkable comfort and light weight
3D-shaped slow-retention ear pads
for personalized fit
Sound-sealing pad profile
for excellent isolation
Slim, durable, removable cable
with precision LEMO connector
Robust design
incorporating precision metal parts.
Demanding test regimen
ensures reliable operation in the studio and on the road
SUPERIOR REFERENCE SOUND
AKG K872 headphones deliver exceptional accuracy and durability to meet the most demanding professional standards. All components are meticulously crafted and work in concert to deliver superior performance and an impressive listening experience. We engineered the drivers using large 53mm transducers and powerful 1.5 Tesla magnet systems to ensure greatest-in-class headroom and accurate imaging.
The two-layer, copper-covered aluminum voice coil works with the special magnet design to deliver high sensitivity, superior impulse response, and an extended frequency range of 5Hz–54kHz. K872 headphones are extremely versatile, and perform with finesse across a wide range of musical styles and sound sources.
PRECISION ACCURACY AND PERFORMANCE
When designing K872, we challenged ourselves to create the highest-quality, most accurate reference headphones ever built. You can depend on the K872 to reveal all the detail in a broad range of program material and today’s high-resolution formats. Whether you are recording, mixing, mastering or creating a soundtrack, K872 sets a new benchmark for performance.
OPTIMIZED CLOSED-BACK DESIGN
The newly designed, closed-back ear cups provide optimal isolation from external sound in critical monitoring applications. Want to record a magical performance? Worn by your recording performer, K872 delivers a most inspiring listening experience while ensuring sensitive microphones and your recorded tracks will be free of headphone “leakage.”
REMARKABLE COMFORT
Over 50 years ago, AKG invented the self-adjusting headband, which quickly became a headphone industry standard. K872 combines the comfort of our legendary lightweight self-adjusting headband with a new quick-lock mechanism that maintains the right shape for your head, so there’s no need to readjust every time you use the headphones. 3D-shaped slow-retention ear cups provide an exceptional personalized fit and comfort.
LONG-LASTING DURABILITY
Every rugged component of the K872 is stress-tested by our engineers to ensure premium AKG performance wherever you go. All the mechanically critical parts are made of metal—from the precision cardan hinge to the headband. Details such as the trim ring around the ear cup serve to provide a superior seal for the speaker plate. The K872 is an industry-leading reference headphone that’s built to last.
MODERN MOBILITY
Supporting today’s mobile laptop production work flow, the K872 master reference headphones are your portable mixing, mastering and monitoring reference on the go. The K872 includes a low-profile carrying case that doubles as a stand—so your master reference headphones are protected during travel. And the slim yet durable cable with precision LEMO® connector is easily detached for added transportability.
![AKG P120 - High-Performance General Purpose Recording Microphone](http://opticecho.myshopify.com/cdn/shop/files/AKGP120_{width}x.jpg?v=1717725912)
AKG P120 - High-Performance General Purpose Recording Microphone
Regular price $150.35 Sale price $99.00 Save $51.35Clear. Accurate. Affordable.
The P120 is a 2/3-inch diaphragm true condenser microphone that offers solidly built quality, outstanding performance and excellent value. The low-mass diaphragm delivers a clear sound with accurate sonic detail for vocals, speech and instrument recording in project studios and for home recording.
General Specifications
- Audio frequency bandwidth20 - 20000 Hz
- Equivalent noise level19 dB-A
- Sensitivity24 mV/Pa
- Signal to Noise75 dB-A
- Preattenuation Pad-20 dB
- Bass cut filter300 Hz - 6 dB/octave
- Electrical impedance<= 200 Ohms
- Recommended load impedance>= 1000 Ohms
- Polar PatternCardioid
Dimensions
- Length165 mm
- Diameter54 mm
- Net Weight455 g
Audio Output
- TypeBalanced XLR
- GenderMale
- Contacts3-pin
Powering Interface
- Voltage44 to 52 V
- Current<= 3 mA
Application
- Project Studio Yes
- Live Instrument Yes
Instrument
- Vocals Yes
- Piano / Strings Yes
What's in the box?
- 1 x P120 Microphone
- 1 x Stand Adapter
![AKG P170 - High-Performance Instrument Microphone](http://opticecho.myshopify.com/cdn/shop/files/AKGP170_{width}x.jpg?v=1717725911)
AKG P170 - High-Performance Instrument Microphone
Regular price $150.35 Sale price $99.00 Save $51.35The P170 is a small-diaphragm condenser microphone for recording of overheads, percussion, acoustic guitars and other strings. Its lightweight 1/2-inch true condenser transducer diaphragm delivers outstanding clarity and transient response. The P170 utilizes the experience of sound engineers from around the world and is considered an affordable alternative to the legendary AKG C451 B.
WHAT'S IN THE BOX?
- 1 x P170 Microphone
- 1 x Stand Adapter
![AKG P220 - High-Performance Large Diaphragm True Condenser Microphone](http://opticecho.myshopify.com/cdn/shop/files/AKGP220_{width}x.jpg?v=1717725906)
AKG P220 - High-Performance Large Diaphragm True Condenser Microphone
Regular price $266.90 Sale price $159.00 Save $107.90The P220 is a large-diaphragm true condenser microphone offering a warm and clear sound for lead vocals, acoustic guitar and brass instruments. A switchable bass-cut filter and attenuation pad make it perfectly suited for use on loud sound sources with sound pressure levels up to 155dB SPL. The rugged and roadworthy design also makes the P220 a perfect choice for on-stage applications.
The P220 represents the most popular and successful microphone within the actual Project Studio Line. It comes complete with a spider-type shock mount in an aluminum carrying case.
General Specifications
- Polar PatternCardioid
- Audio frequency bandwidth20 - 20000 Hz
- Equivalent noise level16 dB-A
- Sensitivity20 mV/Pa
- Signal to Noise78 dB-A
- Preattenuation Pad-20 dB
- Bass cut filter300 Hz - 12 dB/octave
- Electrical impedance<= 200 Ohms
- Recommended load impedance>= 1000 Ohms
![AKG P420 - High-Performance Dual-Capsule True Condenser Microphone](http://opticecho.myshopify.com/cdn/shop/files/AKGP420_{width}x.jpg?v=1717725905)
AKG P420 - High-Performance Dual-Capsule True Condenser Microphone
Regular price $371.79 Sale price $199.00 Save $172.79The P420 is a multi-pattern large diaphragm true condenser microphone for demanding project studio recording applications. Offering high sensitivity and 155dB maximum SPL, the P420 delivers a warm, transparent sound quality perfectly suited for ensemble recording, grand piano, woodwind and brass instruments, as well as drums and percussion. With three selectable polar patterns – cardioid, omnidirectional or figure 8 – it is an ideal tool for stereo miking techniques and ambient recording.
General Specifications
- Audio frequency bandwidth20 - 20000 Hz
- Equivalent noise level15 dB-A
- Sensitivity28 mV/Pa
- Signal to Noise79 dB-A
- Preattenuation Pad-20 dB
- Bass cut filter300 Hz - 12 dB/octave
- Electrical impedance<= 200 Ohms
- Recommended load impedance>= 1000 Ohms
- Polar PatternCardioid, Omnidirectional, and Figure of eight
Dimensions
- Length165 mm
- Diameter54 mm
- Net Weight530 g
Alicia Keys The Oven Studios
Regular price $0.00 Save $0.00The Oven Studios
When old school hooks up with new school, watch out. That's exactly what has happened at The Oven Studios, a world-class facility created for Alicia Keys and Kerry "Krucial" Brothers, founders of KrucialKeys Enterprises. Designed by Keys, Krucial and a dedicated team, the facility successfully builds on a pre-existing high-level recording studio in the New York area and puts it into a 2005 context, perfect for a nine-time Grammy®-winning songwriter growing increasingly skilled in her role as a producer.
"I've always written, I've always played the piano, and when I heard these songs in my head, I would know what I wanted the feel and the sound to be," says Keys, who produced or co-produced 11 of the 15 tracks on the 2003 multi-Platinum The Diary of Alicia Keys. "Krucial was one of the first people to encourage me to take things into my own hands. That's why producing is so important to me. I'm able to hear my thoughts and voices, and I can present it as only I know it should exist."
After the smashing success of Songs in A Minor and Diary, KrucialKeys decided that a purpose-built recording studio was in order, with a choice between renovating an existing facility or building one from scratch. Realizing that vibe settles in like a vintage wine, the partners opted for the former and purchased an established facility built into an old house, with a quiet town setting and calming shade trees just outside.
"The basic idea is that we've always been very hands-on and always been working in 'The House,'" states Krucial, referring to Keys' early demos that were recorded in a small Harlem apartment. "We're both into the old sound and we don't mind the big studios, but there's something about the home environment that's more comfortable, so we figured the best way was shaping the studio so it's an extension of the home."
KrucialKeys got the process going by huddling with longtime engineer Ann Mincieli, who started working with the pair at New York City's Quad Studios in 2000 -- a relationship that officially went full-time during the recording of Diary. Mincieli did her research and built a tight, top-tier team capable of guiding the studio's extensive renovations and rebirth: Krucial; Keys; Dave Malekpour of Professional Audio Design; and John Storyk, Beth Walters, Dirk Noy and Chris Bowman of architectural and acoustical design firm Walters-Storyk Design Group.
"Everyone's input went into it," Mincieli stresses. "Everything in the pre-existing structure would lead us to ask, 'Why do we need that? How do we revolutionize this? How do we change the face of the industry? How can we be a leader ourselves?' We had the team, and if you look at the rooms, they're from everybody's input and decisions. It was nice because someone else would frequently have a way of looking at things that you might not have thought of.
"Creating The Oven was a big experiment, really," Mincieli continues. "Our mic panels aren't everyday mic panels, for example: They have our logo, and the Mytek headphone system built into it has been modified so the noise from the power supply is in the basement, not the live room. All these details we came up with wouldn't have gotten to that level if we didn't have the whole team helping each other. I've been to a lot of studios, but I haven't seen one with a thought process like this -- constantly asking, 'What can we do that's unique?'"
The Oven answers that question first with its relaxed atmosphere, accenting the house environment with green hues and earth tones in the rooms and corridors that surround the fully outfitted upstairs production rooms -- Studio B and Studio C -- and the heart of the facility, Studio A on the first floor. "My first decision was to get an SSL AWS900," says Mincieli. "It's a dual-function desk: 24 channels of SSL mic pre's and EQ with a DAW running as a HUI. The design of the modules on the desk is the same as on a K or an XL, but the signal path is shorter, so it sounds even better than an XL. I'd love a K, but I don't have the real estate. This little AWS900 came out and it was perfect, so I made that my foundation."
Adding to the 230-square-foot control room is a wide selection of mic pre's, including the 24 ultralow-noise preamps in the AWS900, plus four more external SSL mic pre's, 16 additional channels of API and two original Neve 1073s. The highly flexible SSL patchbay was custom-made by PAD for The Oven, laid out to maximize integration between the console and the 24-in/48-out Pro Tools|HDsystem, while keeping all cables concealed via an under-the-floor routing scheme. The Augspurger® and Yamaha NS10 monitors, multiple mics and myriad other gear build on a perfectionist attention to detail within the recording space, sporting a matched look with Aston Martin Metallic Silver 2001 paint selected from a local car dealership.
Everything is set up to capture the magic that awaits in the adjoining live room, a 535-square-foot space with a stone wall and a staged floor plan created especially for Keys' vocal and piano mastery. "The pianos in that big live room have such a clear, crystal, gorgeous clarity," Keys says. "At the same time, we can set up anything else we want. It has the stones on the wall that gives a more intimate, personal feel. The point of the room is to capture a multitude of sounds." Also on The Oven floor are a 160-square-foot drum room and 80-square-foot iso booth.
When hard drives are rolling, Mincieli frequently employs a Telefunken Ela M 270 stereo mic for recording Keys' Yamaha piano and aTelefunken U47 or Sony C800 for her vocals. "Knowing that there's going to be a piano in the room and that the other primary instrument will be a world-class vocalist, you do things differently," says Storyk, lead acoustician for the project, of the live room. "You make this room as reverberant as possible, while still ensuring mid- and high-frequency reflection control. Most pianists like a wood floor, and so does Alicia. Some people think that the resonators we used for low-frequency absorption are meant to look like the black keys on a piano, but the rhythm of their placement stems from the fact that they're affixed to columns in the walls. The end result is an appealing mixture of architecture, acoustics, aesthetics and ergonomics."
Is the melding of living spaces and workspaces an emerging trend? "I would hope so," Walters adds regarding Studio A's aesthetic. "They spend a lot of time here [in Studio A], and their work branched out into the rest of the facility, as well. This is definitely as much of a living space as it is a workspace."
Studios A, B and C combine to make The Oven a full-service facility -- not just for KrucialKeys, which recently mixed Keys' Unplugged here for J Records, but for their collaborators and select outside clients such as Donna Summer and Keyshia Cole. Especially enticing is the Pro Tools|HD3 -- equipped Studio B, where dark wood and natural light combine to create a naturally meditative state and an extremely attractive destination for writing, recording and pre-production. Studio C offers a complement of Korg and Roland synths and Akai MPC workstations to add to the available sonic palette.
According to Malekpour, The Oven is a perfect example of the direction that accomplished artists are now taking with their personal facilities. "At PAD, what we've seen happen is a shift from larger-scale commercial facilities to artists wanting their own larger-scale personal-use facilities. They're built around a person's way of working, and they want to be in there without the clock ticking so that even if they go away for two weeks on tour, they can get right back to working the way that they want to work.
"This studio has ramped that up: It's a pro facility that's privately owned, and they've considered how to use it for session work when they're not using it themselves," he continues. "I won't be surprised if we replicate this kind of studio in the future: a mid-sized room with great acoustics and everything in the control room within easy reach designed around production and creation as opposed to having this giant object there. The SSL AWS900 has such a small footprint that it allows you to do a lot more.
"It's also exciting to work with someone who really cares about the end result. Alicia's a unique artist because she's involved with all aspects of her production, and when you see her perform, you see that this person is deeply devoted to her craft. She's also surrounded herself with some good people, and that's a key component to every studio environment."
With the creation of The Oven, it seems that one of the world's most successful performers is happy to find herself fully immersed in the science of recording. "When it comes to songwriting, the essence is the voice, the song and one special instrument," Keys reflects. "So it starts in this simplistic way, but when you get into the audio aspect of making a record -- not a song, but a whole record -- it really makes a difference; not just the people you're working with, but the types of things you're working on. A good song is a good song whether you have good audio engineering or not, but it does enhance the experience. We're blessed with having so much to create the best audio experience for the listener."
Alto Professional Stealth Wireless
Regular price $599.00 Sale price $399.00 Save $200.00Add wireless audio connectivity to any active loudspeaker
Replaces up to 200' of console-to-system cabling
No compromise in audio quality
Reliable UHF band; 16 selectable channels
Adjustable squelch eliminates interference
Dual-channel transmitter: two XLR + 1/4" combo inputs
Single-channel receivers: (x2): XLR output
![Amphion Amp400.12 - 12-Channel Amplifier](http://opticecho.myshopify.com/cdn/shop/files/Amphion_Loudspeakers_Logo_{width}x.jpg?v=1717725350)
Amphion Amp400.12 - 12-Channel Amplifier
Regular price $5,500.00 Save $-5,500.00Amphion Amp400.12 - 12-Channel Amplifier
![Amphion Amp400.8 - 8-Channel Amplifier](http://opticecho.myshopify.com/cdn/shop/files/amp400_8-1_{width}x.png?v=1717725352)
Amphion Amp400.8 - 8-Channel Amplifier
Regular price $4,500.00 Save $-4,500.00The Amp400.8 provides an exceptional level of multichannel amplification. As all 8 channels are identical and discreet it can also be used in a 2-channel environment for driving up to 4 pairs of passive speakers.
Unique highlights
Low-distortion power
Amp400.8 delivers rock-solid control and tight, fast, highly resolving low-distortion power to get maximum performance from your monitors.
Added performance
To reach the needed sonic performance, a proprietary in-house designed buffer stage compliments the merits of the latest Class-D technology.
The perfect partner
Careful sonic matching and quality components make the amplifiers a perfect partner to all Amphion monitors and other passive speakers.
Specifications
@1%THD+N, 20Hz–20kHz 410W ( 4 ohm) / 205 W (8 ohm)
121.5 dB(A)
Balanced 3-pin XLR female
Neutrik Speakon (NL2FX) 2-pole cable
Universal mains, auto select (100-240 V, 50-60 Hz)
19” rack mountable (3U), high quality aluminium
483 x 88 x 260 mm
7.5 kg (16.5 lbs)
Amphion Amp700
Regular price $2,000.00 Save $-2,000.00To reach the needed performance level, we developed a buffer-stage, which improved the sonics further by adding a subtle touch of class A sound to D class topology. Amp700 is a perfect partner to all Amphion models and other passive monitors.
Features:
- 700W per channel for excellent control and high resolution across the whole frequency spectrum.
- Added buffer-stage, which improves the sonics further by adding a subtle touch of A-class sound to D-class topology.
- A perfect partner to all Amphion models and other passive monitors.
![Amphion BaseTwo25 System](http://opticecho.myshopify.com/cdn/shop/files/BaseTwo25_{width}x.png?v=1717725343)
Amphion BaseTwo25 System
Regular price $11,000.00 Save $-11,000.00BaseTwo25 LF extension towers and BaseAmp1200 crossover/amplifier module
BaseTwo25 is a state-of-the-art monitoring solution elevating a two-way studio monitor into a fullrange, three-way system. The system is driven by BaseAmp1200, which houses Amphion’s discrete filtering module with a 4-step crossover selection, bypass and variable-level attenuator.
Unique highlights
Stereo to the lowest octave
Amphion’s introduced their first Base Extension system in 2015. The concept of keeping stereo information all the way down has become widely adopted since.
Seamless integration
Designed to work seamlessly with all monitor sizes. System can even be paired with a smaller model for an ultra-fast, easy to adjust small room full-range system.
Elevate your monitors
As the bass frequencies are transferred to the Base system, the midrange clarity and power-handling of the paired monitors are greatly enhanced.
Industry-defining clarity
Force-cancelling driver configuration and highest quality components lead into industry-defining clarity, control, and low frequency detail.
Simple setup
Always placed under the monitors. Fixed placement and physical proximity between the monitor and bass extender ensure perfect integration.
2-way, 3-way or Amphion way?
Simplicity of a 2-way monitor or the power handling of a 3-way design? The system can easily switch between both with a push of a button or foot switch.
Specifications
BaseTwo25
One-way, passive radiator
2 x 10” aluminium woofers
2 x 10” aluminium radiators
Active 4th-order, selectable @ 40, 60, 80, 100 Hz
127dB
20 – 100 Hz ±3dB35 Hz – 200 kHz +/-3dB (high pass)
3.5 m long, terminated with 2-pole Neutrik Speakon connectors
958 x 360 x 386 mm
2 x 32 kg / 2 x 70 lb
![Amphion FlexBase25 System](http://opticecho.myshopify.com/cdn/shop/files/FlexBase25_FlexAmp12001_{width}x.jpg?v=1717725343)
Amphion FlexBase25 System
Regular price $6,500.00 Save $-6,500.00FlexBase25 LF extension tower and FlexAmp1200 crossover/amplifier module
FlexBase25 is a single box, stereo bass system, which transforms a two-way studio monitor into a fullrange, three-way system. The system comes with FlexAmp1200 with wide adjustment possibilities allowing to address the needs of a rapidly changing landscape of modern sound-making.
Unique highlights
Designed to work seamlessly with all monitor sizes. System can even be paired with a smaller model for an ultra-fast, easy to adjust small room full-range system.
Elevate your monitorsAs the bass frequencies are transferred to the Base system, the midrange clarity and power-handling of the paired monitors are greatly enhanced.
Modern flexibilityVariable crossover frequency and bass level attenuator allow the system to match the specific needs of various sound engineering tasks.
Simple setupAlways placed on the center-line of the monitors. Fixed placement and wide adjustment possibilities lead into effortless performance in all rooms.
2-way, 3-way or Amphion way?Simplicity of a 2-way monitor or the power handling of a 3-way design? The system can easily switch between both with a push of a button or foot switch.
Specifications
FlexBase25
One way closed box, stereo
2 x 25 cm / 10” aluminium
Active 4th-order @ 35-260 Hz
117dB
20 Hz – 260 Hz +/-3dB (low pass)
35 Hz – 200 kHz +/-3dB (high pass)
3.5 m long, terminated with 4-pole Neutrik Speakon connectors
854 x 340 x 320 mm
45 kg / 99 lb
Amphion One12 Passive Studio Monitor
Regular price $825.00 Save $-825.00Amphion One12 Passive Studio Monitor
The Amphion One12 is a 2-way passive monitor with a 1" titanium dome tweeter in a Corian waveguide, and 4.5" aluminum woofer, with a passive radiator for controlled bass .
At one time or another, every engineer, with the notable exception of Abbey Road’s Ken Scott, have advised, or been advised of the benefits of mixing at low volumes. The advantages being longer mix sessions due to less ear fatigue, taking the room acoustics out of the equation, and the ability to hear everything in greater detail. Amphion, in agreement with this concept, designed the One12 to reproduce program material with superb imaging at low volumes. Since the 4.5" One12 is designed for small rooms, it’s important to recognize that bass is exaggerated in small rooms as volume increases, which leads to thin mixes as you compensate. The One12 is designed to behave much like a set of headphones, enabling you to mix more accurately by revealing all of the fine details. To achieve Amphion’s design philosophy of neither adding to or taking anything away program material, the One12 uses a 1" (25mm) titanium dome tweeter set in a Corian waveguide. The tweeter is meticulously aligned with a 4.5" (115mm) woofer, which works in conjunction with a passive radiator to deliver surprisingly tight and even lows for such small speakers. This approach, combined with a very low crossover at 1.6kHz, ensures a rock-solid “phantom” center image, exceptional time and phase coherence, spectacular 3D soundstage and imaging, and an extremely wide and deep sweet spot.
Amphion One12—Just the Facts:
- First-class resolution, imaging, sweet spot width, and depth in a small but powerful package
- Point-source behavior due to 1.6kHz crossover and proprietary Corian waveguide
- Compact studio monitors created for low-volume performance and superb imaging
- Translation at its best, from bedroom studios to commercial studios to PA monitoring
Amphion One12—Behind the Grille
Amphion monitors are designed and hand-built by people dedicated to bring you sound in all its natural glory—nothing added, nothing taken away, just the beauty of sound as it occurs in life—in Amphion’s view, music is already as beautiful as it has to be and doesn’t require monitors to enhance it, but rather, to get out of its way. These small One12 monitors provide an amazingly correct translation to much bigger mixing and mastering studio systems, home audio setups, or even large PA systems. Many other monitors fall apart at low listening volume, but the One12, due to its passive radiator and proprietary waveguide, enable it to sound equally solid at any volume. The One12 also makes it easier to hear compression, EQ, and other types of processing that become obscured at higher levels.
Controlled dispersion via custom Corian waveguide
According to Amphion founder, Anssi Hyvönen, point-source is the only way to properly reproduce sound. Even though Amphion monitors don’t look like it, they behave like point-source monitors due to the crossover at 1.6kHz, which leaves the critical listening range of 2kHz to 5kHz untouched. Additionally, the Corian waveguide deals with the physical properties of point-source monitoring.
Amphion’s custom waveguide is responsible for the One12’s wide dispersion and simultaneous ability to physically act as a point-source monitor. While this would appear to be counterintuitive, since a point-source monitor would have a tweeter inside a woofer, the goal of the waveguide is to eliminate the phase shift that would otherwise occur due to the physical distance between tweeter and driver. Point-source monitoring also eliminates the need for additional time-alignment circuitry. However, the downside of point-source monitors is that having the tweeter inside the woofer reduces dispersion and makes for a very narrow sweet spot. Amphion’s proprietary waveguide solves the problems of phase shift, time-alignment, and narrow dispersion.
To design their waveguide, Amphion chose Corian, a product created by DuPont for, believe it or not, kitchen and bathroom surfaces. Corian not only rivals the density of granite, it’s non-porous, highly reflective, and can be seamlessly molded into limitless forms via a process called thermoforming. Corian also lasts a lifetime. The Corian waveguide’s shape is determined via computer modeling and simulations to enable the One12’s tweeter and woofer to function like a point source monitor.
PAD Pro tech tip: Mixing quietly in mono from a single point-source monitor (such as the old single-speaker Auratones), is one of the best-kept secrets for mix balance and translation. It’s much easier to judge the balance of two instruments superimposed on one another in mono than when they are several feet apart. It’s also easier to judge reverb amounts. So do your panning, balancing, and reverbs in mono, and when you switch back to stereo, everything will open up, with greater clarity and size. The big secret is to use only one point-source monitor in mono.
Passive radiator bass enhancement
Another design philosophy adhered to by Amphion’s Anssi Hyvönen is that in his view, ported monitors should be banned from music making. The upside of ported speakers is that they can output more impressive low end than infinite-baffle systems (sealed cabinets), though they exhibit a steeper bass roll-off. The downside is that the waves emanating from them can make noise and interfere up the spectrum through the low mids and midrange. There’s also a possibility of smearing transients, as well as produce a phenomenon called one-note bass, wherein the resonant frequency of the cabinet overtakes the low end.
Amphion’s solution is the use of a passive radiator, which works much like the bass reflex in order to increase bass response in an otherwise too small cabinet. The radiator is a diaphragm used to cover an inconveniently large port. It also reduces port turbulence, which can interfere with the direct sound of the drivers. Amphion uses passive radiators in a sealed cabinet, which maintains the same low-frequency response regardless of volume—hence the One12’s ability to remain true to the source at low levels.
Applications
The One12 is a perfect fit for home studios, small post-production edit bays, mobile trucks, or FOH where space is at a premium. Designed for any pro audio application, in the studio, or on-the-go, these nearfields take the room out of the equation and allow you to listen to music in its pure form, not affected by the surrounding acoustics. One12 studio monitors are like a large pair of high-resolution headphones that the whole production team can listen to at once.
What the pros are saying about Amphion
“… may be the best small studio speakers ever!”
Producer-engineer-mixer, Jacquire King (Norah Jones, Kings Of Leon, Tom Waits)
“Unbelievably portable and they sound amazing.”
—Producer, songwriter, and recording engineer, Rob Hoffman (Quincy Jones, Michael Jackson, Christina Aguilera)
“… take my Amphions. Just prepare for a battle.”
Petri Alanko—composer, musician, and producer
“Absolutely fantastic for such a small monitor.”
Jonathan Ojeda—recording artist, mixing, and mastering engineer
Amph up your ears with a pair of Amphion One12 monitors and hear your music as you intended. Order yours today. For more information, call or chat online with your PAD Professional.
Specifications
- Operating principle: Two-way, passive radiator
- Drivers: 1" (25mm) titanium tweeter; 4-1/2" (120mm) aluminum woofer
- Crossover point: 1.6kHz
- Sensitivity: 84dB @ 2.83V/1m
- Frequency response: 78Hz–20kHz ±3dB
- Power recommendation: 20 – 100 W
- Weight: 13 lb. (6 kg)
- Handmade in Finland
Amphion One15 Nearfield Studio Monitor
Regular price $1,100.00 Save $-1,100.00The Amphion One15 is a 2-way passive monitor with a 1" titanium dome tweeter and 5.5" aluminum woofer, with a passive radiator for controlled bass and a high-density Corian® waveguide for wide dispersion and point-source performance.
Appearing to come out of nowhere to take the industry by storm, Amphion honed their chops building audiophile monitors before they turned their attention to facilitate the creation of music along with its consumption. Their expertise on the back end of music production informed their approach to the front end, and the One-series studios monitors were born. Built for tracking, mixing, or mastering, the 5.5" One15 is Amphion’s smallest nearfield studio monitor. A passive design, it features custom-designed drivers, a high-density Corian waveguide, and a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound needed to make critical mixing decisions. In keeping with Amphion’s aesthetic, which is to neither add or take anything away from the natural beauty of sound, One15 studio monitors are invisible across the whole frequency spectrum, enabling you to mix the music, not the speakers. With an impressive stereo image, they maintain an accurate balance even at low listening levels. These monitors translate perfectly to any other playback system, enabling you to minimize the tail-chasing common to mixing.
Amphion One15—Just the Facts:
- Amphion’s smallest nearfield monitor with all the power for any monitoring situation or setup
- Powerful ability to resolve sonic details combined with an incredible neutral tonal balance
- Delivers trustworthy and transparent translation in an affordable nearfield package
- Point-source behavior due to 1.6kHz crossover and proprietary Corian waveguide
- Passive radiator enhances bass without bass reflex port noise
- External power amp required; a perfect match for the Amphion Amp100
Amphion One15-Behind the Grille
One15 studio monitors are the epitome of affordable high-end nearfield monitors. Providing clear and transparent mids, smooth highs, and an incredibly accurate and satisfying bass response, the One15 is eminently suited for music creation or professional mixing, including genres that live in the low-frequency spectrum. Any pro-monitoring setup could benefit from Amphion One15s as mains or mix-reference monitors. These audiophile-quality passive monitors feature custom drivers, including a 5-1/2" aluminum woofer and 1" titanium tweeter housed in a proprietary Corian waveguide that eliminates phase shift, enabling the One15 to act like a point-source monitor with the added advantage of a wide sweet spot. The One15 is a passive monitor that requires external power amplification. The advantage of a passive design is that the enclosure can remain dedicated to the proper placement and implementation of drivers, rather than dedicating half of the cabinet to the amplifier and cooling devices. It also enables the external power amp to be laid out as in the best way possible for optimal performance.
Controlled dispersion via custom Corian waveguide
According to Amphion founder, Anssi Hyvönen, point-source is the only way to properly reproduce sound. Even though Amphion monitors don’t look like it, they behave like point-source monitors due to the crossover at 1.6kHz, which leaves the critical listening range of 2kHz to 5kHz untouched. Additionally, the Corian waveguide deals with the physical properties of point-source monitoring.
Amphion’s custom waveguide is responsible for the One15’s wide dispersion and simultaneous ability to physically act as a point-source monitor. While this would appear to be counterintuitive, since a point-source monitor would have a tweeter inside a woofer, the goal of the waveguide is to eliminate the phase shift that would otherwise occur due to the physical distance between tweeter and driver. Point-source monitoring also eliminates the need for additional time-alignment circuitry. However, the downside of point-source monitors is that having the tweeter inside the woofer reduces dispersion and makes for a very narrow sweet spot. Amphion’s proprietary waveguide solves the problems of phase shift, time-alignment, and narrow dispersion.
To design their waveguide, Amphion chose Corian, a product created by DuPont for, believe it or not, kitchen and bathroom surfaces. Corian not only rivals the density of granite, it’s non-porous, highly reflective, and can be seamlessly molded into limitless forms via a process called thermoforming. Corian also lasts a lifetime. The Corian waveguide’s shape is determined via computer modeling and simulations to enable the One15’s tweeter and woofer to function like a point source monitor.
*PAD For the Record: Mixing quietly in mono from a single point-source monitor, such as the old single-speaker Auratones (the 5" bookshelf speaker you see sitting on the meter bridge of world-class studios), is one of the best-kept secrets for mix balance and translation. Point-source monitors eliminate the phase and crossover coloration based on the physical distance between the drivers. Another advantage of mono point-source mixing is consistent balance regardless of the position of your head in relation to the monitor.
Passive radiator bass enhancement
Another design philosophy adhered to by Amphion’s Anssi Hyvönen is that in his view, ported monitors should be banned from music making. The upside of ported speakers is that they can output more impressive low end than infinite-baffle systems (sealed cabinets), though they exhibit a steeper bass roll-off. The downside is that the waves emanating from them can make noise and interfere up the spectrum through the low mids and midrange. There’s also a possibility of smearing transients, as well as produce a phenomenon called one-note bass, wherein the resonant frequency of the cabinet overtakes the low end.
Amphion’s solution is the use of a passive radiator, which works much like the bass reflex in order to increase bass response in an otherwise too small cabinet. The radiator is a diaphragm used to cover an inconveniently large port. It also reduces port turbulence, which can interfere with the direct sound of the drivers. Amphion uses passive radiators in a sealed cabinet, which maintains the same low-frequency response regardless of volume—hence the One15’s ability to remain true to the source at low levels.
What the pros are saying about Amphion One15:
“I’m making better decisions faster.”
Sean Hamilton—record producer-songwriter
“…the low end is very tidy and prominent – you really don’t need a sub.”
Luke Shredder—mixing and mastering engineer
“The definition of what professional monitoring speakers should be.”
Ludvig Nylund—mastering engineer
“Everyone who hears my Amphion is seriously impressed.”
Clay Krasner—producer and bass player
Equally suited to the home or commercial studio Amphion One15 monitors enable you to make better decisions faster, whether you’re composing, tracking, or mixing. For more information, call or chat online with your PAD Professional today.
Specifications
- Operating principle: Two-way, passive radiator
- Drivers: 1" (25mm) titanium tweeter; 5-1/2" (150mm) aluminum woofer
- Crossover point: 1.6kHz
- Sensitivity: 84dB @ 2.83V/1m
- Frequency response: 49Hz–20kHz ±3dB
- Power recommendation: 20–100W (External power amp required)
- Connectors: Binding post
- Handmade in Finland
Amphion One18 Nearfield Studio Monitor
Regular price $1,650.00 Save $-1,650.00The Amphion One18 is a 2-way passive monitor with a 1" titanium dome tweeter, 6.5" aluminum woofer, a passive radiator for controlled bass, and a high-density Corian® waveguide for wide dispersion and phase-coherent point-source performance.
The overall design philosophy and aesthetic of Amphion’s founder, Anssi Hyvönen, is that monitors should reproduce music in all its natural splendor and beauty without adding or removing anything—just the pure and simple truth of what you’ve recorded or mixed. To achieve this goal, Amphion has spent considerable effort developing technologies that provide an honest representation of program material, including a custom 6.5" aluminum woofer, a highly compliant yet incredibly stable 1" titanium tweeter, and a custom-designed, high-density Corian waveguide, that in concert with a low 1.6kHz crossover, enables the One18 to achieve the behavior of a point-source monitor—the holy grail of monitor design. Built for tracking, mixing, or mastering, the One18 is Amphion’s workhorse nearfield studio monitor. A passive design, it features a sealed enclosure with a passive radiator to deliver the natural, transparent, un-hyped sound needed to make critical mixing decisions. Amphion One18 studio monitors are invisible across the entire frequency spectrum, enabling you to mix the music, not the speakers. With an impressive stereo image, they maintain an accurate balance even at low listening levels. These monitors enable you to minimize the tail-chasing and deliver more quickly a mix that translates perfectly to any other playback systems.
Amphion One18—Just the Facts:
- The new studio-standard for nearfield monitors delivering an exquisite sonic performance
- The One18s cost-performance alone make these a vital addition to any studio, large or small
- Monitor workhorse produces unparalleled sonic clarity and sound image
- Point-source behavior due to 1.6kHz crossover and proprietary Corian waveguide
- Passive radiator enhances bass without bass reflex port noise
- External power amp required; a perfect match for the Amphion Amp100
Amphion One18-Behind the Grille
Extremely detailed but not bright or harsh, the One18 studio monitors allow you to achieve great results fast, with perfect translation to any other listening system. These audiophile-quality passive monitors feature custom drivers, including a 6-1/2" aluminum woofer and 1" titanium tweeter housed in a proprietary Corian waveguide that eliminates phase shift, enabling the One18 to act like a point-source monitor with the added advantage of a wide sweet spot. The One18 is a passive monitor that requires external power amplification. The advantage of a passive design is that the enclosure can remain dedicated to the proper placement and implementation of drivers, rather than dedicating half of the cabinet to the amplifier and cooling devices. It also enables the external power amp to be laid out as in the best way possible for optimal performance.
*PAD For the Record: Mixing quietly in mono from a single point-source monitor, such as the old single-speaker Auratones (the 5" bookshelf speaker you see sitting on the meter bridge of world-class studios), is one of the best-kept secrets for mix balance and translation. Point-source monitors eliminate the phase and crossover coloration based on the physical distance between the drivers. Another advantage of mono point-source mixing is consistent balance regardless of the position of your head in relation to the monitor.
Controlled dispersion via custom Corian waveguide
According to Amphion founder, Anssi Hyvönen, point-source is the only way to properly reproduce sound. Even though Amphion monitors don’t look like it, they behave like point-source monitors due to the crossover at 1.6kHz, which leaves the critical listening range of 2kHz to 5kHz untouched. Additionally, the Corian waveguide deals with the physical properties of point-source monitoring.
Amphion’s custom waveguide is responsible for the One18’s wide dispersion and simultaneous ability to physically act as a point-source monitor. While this would appear to be counterintuitive, since a point-source monitor would have a tweeter inside a woofer, the goal of the waveguide is to eliminate the phase shift that would otherwise occur due to the physical distance between tweeter and driver. Point-source monitoring also eliminates the need for additional time-alignment circuitry. However, the downside of point-source monitors is that having the tweeter inside the woofer reduces dispersion and makes for a very narrow sweet spot. Amphion’s proprietary waveguide solves the problems of phase shift, time-alignment, and narrow dispersion.
To design their waveguide, Amphion chose Corian, a product created by DuPont for, believe it or not, kitchen and bathroom surfaces. Corian not only rivals the density of granite, it’s non-porous, highly reflective, and can be seamlessly molded into limitless forms via a process called thermoforming. Corian also lasts a lifetime. The Corian waveguide’s shape is determined via computer modeling and simulations to enable the One18’s tweeter and woofer to function like a point source monitor.
Passive radiator bass enhancement
Another design philosophy adhered to by Amphion’s Anssi Hyvönen is that in his view, ported monitors should be banned from music making. The upside of ported speakers is that they can output more impressive low end than infinite-baffle systems (sealed cabinets), though they exhibit a steeper bass roll-off. The downside is that the waves emanating from them can make noise and interfere up the spectrum through the low mids and midrange. There’s also a possibility of smearing transients, as well as produce a phenomenon called one-note bass, wherein the resonant frequency of the cabinet overtakes the low end.
Amphion’s solution is the use of a passive radiator, which works much like the bass reflex in order to increase bass response in an otherwise too small cabinet. The radiator is a diaphragm used to cover an inconveniently large port. It also reduces port turbulence, which can interfere with the direct sound of the drivers. Amphion uses passive radiators in a sealed cabinet, which maintains the same low-frequency response regardless of volume—hence the One18’s ability to remain true to the source at low levels.
What the pros are saying about Amphion One18:
“I can mix comfortably, sitting anywhere around the console.”
Norberto Islas—producer, recording and mixing engineer
“I find I’m in exactly the right place.”
Jack Ruston—producer, engineer, and mixer
“The pinpoint accurate imaged sound has to be heard to be believed.”
Ricardo Almeida—music director and composer
“…achieve results quicker and without doubt.”
Luis Villa—recording and mixing engineer
Whether you’re writing music, recording, or mixing, the Amphion One18 studio monitor will be your ear’s best friend throughout the longest of sessions, thanks to their natural tone and balanced frequency response. For more information, call or chat online with your PAD Professional today.
Specifications
- Operating principle: Two-way, passive radiator
- Drivers: 1" (25mm) titanium tweeter; 6-1/2" (150mm) aluminum woofer
- Crossover point: 1.6kHz
- Sensitivity: 85dB @ 2.83V/1m
- Frequency response: 45Hz–20kHz ±3dB
- Power recommendation: 30–150W (External power amp required)
- Connectors: Binding post
- Weight: 26 lb. (12 kg)
- Handmade in Finland
Amphion One25A - Active Full Range Monitor
Regular price $7,450.00 Save $-7,450.00Amphion One25A is a 3-way studio monitor that is true to Amphion core strengths of advanced acoustic design, simple signal path, naturalness and high level resolution enhanced with the benefits of active design, without any of the downsides.
Know-how from the highest level of instrument building was applied for resonance control and energy transfer to ensure that not only the technical, but also goals regarding emotionality and musicality, were met. An innovative sealed dual cabinet improves clarity of all frequencies by separating the midrange from the hexagon shaped bass enclosure, which eliminates standing waves. Plenty of amplifier headroom, elegant simple active crossover, and protection limiter, which is only in the signal path when needed all contribute to highest level of resolution.
Technical Specifications
- Operating principle – Active, 3-way, sealed cabinet
- Tweeter – 25 mm / 1” titanium (new)
- Mid – 15 cm / 5¼” aluminum (new)
- Bass – 25 cm / 10” aluminum
- Crossover points – 100 Hz / 2000 Hz
- Amplifier power – Bass 700 W
- Tweeter / Midrange 2 x 205 W THD + N 0,002%
- Frequency response 22 – 22 000 Hz (-3dB)
- Max SPL – 112 dB
- Connections – Balanced XLR Input, 1x Female XLR, pin 2-hot
- Mains – 100-240 V, 50-60 Hz (Auto select)
- Measurements (H x W x D) – 316 x 510 x 487 mm
- Weight – 41 kg / 91 lb
![Amphion Speaker cables](http://opticecho.myshopify.com/cdn/shop/files/speakercable_pn_b_01_{width}x.jpg?v=1717759520)
Amphion Speaker cables
Regular price $195.00 Save $-195.002,5 m/8.2 ft, banana plug
Technical Specifications
Amphion Two15 Nearfield Studio Monitor
Regular price $2,200.00 Save $-2,200.00The Amphion Two15 is a 2-way passive monitor with a 1" titanium dome tweeter, dual 5.25" aluminum woofers, a passive radiator for controlled bass, and a high-density Corian® waveguide for wide dispersion and phase-coherent point-source performance.
Amphion ups the ante on its One-series monitor with the Two15. It features two 5.25" custom aluminum woofers that operate together in perfect phase and a highly responsive titanium tweeter mounted in a proprietary Corian waveguide that enables the entire system to function as a point-source monitor—the epitome of sound reproduction via loudspeaker. To handle the bass frequencies, the Amphion Two15 uses dual passive radiators in a sealed enclosure, which offer a controlled, accurate, and consistent bass, even at low volumes—great for long mixing or mastering sessions. Amphion Two15 studio monitors are transparent and linear across the entire frequency spectrum enabling you to make proper EQ choices based on what’s actually been recorded and not the “voicing” of the speakers. They also provide exceptionally precise imaging for precision panning, and a wide sweet spot, since their point-source behavior keeps the sound well-balanced regardless of your listening position—a real advantage when clients are out of the sweet spot, or you need to make adjusts at the far end of a console.
Amphion Two15—Just the Facts:
- Renowned for tonal balance, neutrality, and exceptionally low levels of distortion
- The creative tool-of-choice for many composers and producers
- For mixing and mastering engineers requiring well-defined bass without space or desire for subwoofers
- Consistent mix translation
- Custom aluminum driver and titanium tweeter
- Point-source behavior due to 1.6kHz crossover and proprietary Corian waveguide
- Passive radiator enhances bass without bass reflex port noise
- External power amp required; a perfect match for the Amphion Amp100/Amp500
Amphion Two15—Behind the Grille
Amphion’s Two15 is a high-end passive monitor with dual custom-designed 5.25" aluminum drivers, a high-density Corian waveguide, and a sealed enclosure with passive radiators to deliver natural, transparent, and un-altered sound. The dual LF/MF drivers work in tandem with precise phase alignment to reproduce a wide frequency range with exceptional accuracy. Extremely detailed but neither bright or harsh, Two15 studio monitors allow you to achieve great results fast while achieving accurate translation to any other listening system. These audiophile-quality passive monitors feature custom drivers, including a 6-1/2" aluminum woofer (well, two to be precise) that’s physically time-aligned with 1" titanium tweeter housed in a proprietary Corian waveguide that eliminates phase shift. This configuration enables the Two15 to act like a point-source monitor* providing the added advantage of a balanced sound regardless of your listening position in the room (an excellent feature during playback for clients not sitting in an otherwise narrow sweet spot).
Power recommendation
The Two15 is a passive monitor that requires a recommended 50 to 200 watts of external power amplification. Recommended - The advantage of a passive design is that the enclosure can remain dedicated to the proper placement and implementation of drivers, rather than dedicating half of the cabinet to the amplifier and cooling devices. It also enables the external power amp to be laid out as in the best way possible for optimal performance. The Amphion Amp100 or Amp500 are purpose-built to be perfect partners for the Two15.
*PAD For the Record: Mixing quietly in mono from a single point-source monitor, such as the old single-speaker Auratones (the 5" bookshelf speaker you see sitting on the meter bridge of world-class studios), is one of the best-kept secrets for mix balance and translation. Point-source monitors eliminate the phase and crossover coloration based on the physical distance between the drivers. Another advantage of mono point-source mixing is consistent balance regardless of the position of your head in relation to the monitor.
Controlled dispersion via custom Corian waveguide
According to Amphion founder, Anssi Hyvönen, point-source is the only way to properly reproduce sound. Even though Amphion monitors don’t look like it, they behave like point-source monitors due to the crossover at 1.6kHz, which leaves the critical listening range of 2kHz to 5kHz untouched. Additionally, the Corian waveguide deals with the physical properties of point-source monitoring.
Amphion’s custom waveguide is responsible for the Two15’s wide dispersion and simultaneous ability to physically act as a point-source monitor. While this would appear to be counterintuitive, since a point-source monitor would have a tweeter inside a woofer, the goal of the waveguide is to eliminate the phase shift that would otherwise occur due to the physical distance between tweeter and driver. Point-source monitoring also eliminates the need for additional time-alignment circuitry. However, the downside of point-source monitors is that having the tweeter inside the woofer reduces dispersion and makes for a very narrow sweet spot. Amphion’s proprietary waveguide solves the problems of phase shift, time-alignment, and narrow dispersion.
To design their waveguide, Amphion chose Corian, a product created by DuPont for, believe it or not, kitchen and bathroom surfaces. Corian not only rivals the density of granite, it’s non-porous, highly reflective, and can be seamlessly molded into limitless forms via a process called thermoforming. Corian also lasts a lifetime. The Corian waveguide’s shape is determined via computer modeling and simulations to enable the Two15’s tweeter and woofer to function like a point source monitor.
Passive radiator bass enhancement
Another design philosophy adhered to by Amphion’s Anssi Hyvönen is that in his view, ported monitors should be banned from music making. The upside of ported speakers is that they can output more impressive low end than infinite-baffle systems (sealed cabinets), though they exhibit a steeper bass roll-off. The downside is that the waves emanating from them can make noise and interfere up the spectrum through the low mids and midrange. There’s also a possibility of smearing transients, as well as produce a phenomenon called one-note bass, wherein the resonant frequency of the cabinet overtakes the low end.
Amphion’s solution is the use of a passive radiator, which works much like the bass reflex in order to increase bass response in an otherwise too small cabinet. The radiator is a diaphragm used to cover an inconveniently large port. It also reduces port turbulence, which can interfere with the direct sound of the drivers. Amphion uses passive radiators in a sealed cabinet, which maintains the same low-frequency response regardless of volume—hence the Two15’s ability to remain true to the source at low levels.
What the pros are saying about the Amphion Two15:
“Working on Amphion Two15’s is very intuitive and emotionally informative.”
Mixing engineer—Arttu Peljo
“I immediately noticed that I could find the sweet spot in my mixes much quicker.”
Warner Bros. staff composer-producer—Dean Landon
“…complete solution for pushing digital production to a new level.”
Program leader in music/electroacoustic composer—Dr. Antti Sakari Saario
About Amphion
The overall design philosophy and aesthetic of Amphion’s founder, Anssi Hyvönen, is that monitors should reproduce music in all its natural splendor and beauty without adding or removing anything—just the pure and simple truth of what you’ve recorded or mixed. To achieve this goal, Amphion has spent considerable effort developing technologies that provide an honest representation of program material, beginning with audiophile speakers.
Whether you are composing, tracking, mixing, or mastering, the Amphion studio monitors enable you to work faster and achieve premium results. These transparent and elegantly-truthful studio monitors are perfectly balanced, and easily respond to any acoustic environment, personal taste, or music genre.
Spend more time creating and less time chasing your tail. With Amphion Two15 studio monitors, referencing on other monitors is now a thing of the past. For more information, call or chat online with your PAD Professional today.
Specifications
- Operating principle: Two-way, passive radiators
- Drivers: 1" (25mm) titanium tweeter; 2x 5-1/4" (133 mm) aluminum woofers
- Crossover point: 1.6kHz
- Sensitivity: 86dB @ 2.83V/1m
- Frequency response: 44Hz–20kHz ±3dB
- Power recommendation: 50–200W (External power amp required)
- Connectors: Binding post
- Dimensions (HWD): 20" x 6-3/16" x 10-7/16" (510 x 160 x 265 mm)
- Weight: 26 lb. (12 kg)
- Handmade in Finland
Amphion Two18 Nearfield Studio Monitor
Regular price $3,300.00 Save $-3,300.00The Amphion Two18 is a 2-way passive monitor with a 1" titanium dome tweeter, dual 6.5" aluminum woofers, a passive radiator for controlled bass, and a high-density Corian® waveguide for wide dispersion and phase-coherent point-source performance.
Already a hit with hit-making producers, mixers, and engineers, the Two18 sits at the top of the Amphion studio monitor range. It features two custom aluminum woofers that operate together in perfect phase, and a highly responsive titanium tweeter mounted in a proprietary Corian waveguide that enables the entire system to function as a point-source monitor—the holy grail of speaker technology. To handle the bass frequencies, the Amphion Two18 uses dual passive radiators in a sealed enclosure, which offer a controlled, accurate, and consistent bass, even at low volumes—great for long mixing or mastering sessions. Amphion Two18 studio monitors are transparent and un-hyped across the entire frequency spectrum enabling you to make proper EQ choices based on what’s actually been recorded and not the “voicing” of the speakers. They also provide exceptionally precise imaging for precision panning, and a wide sweet spot, since their point-source behavior keeps the sound well-balanced even during long “road trips” down the console.
Amphion Two18—Just the Facts:
- Amphion’s supreme nearfield performer in the studio
- Delivers unsurpassed levels of detail, 3D depth, stereo width, phase/frequency response
- Consistent mix translation
- Point-source behavior due to 1.6kHz crossover and proprietary Corian waveguide
- Passive radiator enhances bass without bass reflex port noise
- External power amp required; a perfect match for the Amphion Amp100/Amp500
Amphion Two18—Behind the Grille
Amphion’s vertically oriented Two18 is a high-end passive monitor with dual custom-designed 6.5" aluminum drivers, a high-density Corian waveguide, and a sealed enclosure with passive radiators to deliver natural, transparent, and un-altered sound. The dual LF/MF drivers work in tandem with precise phase alignment to reproduce a wide frequency range with exceptional accuracy.
Extremely detailed but neither bright or harsh, Amphion Two18 studio monitors allow you to achieve great results fast while achieving accurate translation to any other listening system. These audiophile-quality passive monitors feature custom drivers, including a 6-1/2" aluminum woofer (well, two to be precise) that’s physically time-aligned with 1" titanium tweeter housed in a proprietary Corian waveguide that eliminates phase shift. This configuration enables the Two18 to act like a point-source monitor* providing the added advantage of a balanced sound regardless of your listening position in the room (an excellent feature during playback for clients not sitting in an otherwise narrow sweet spot).
Power recommendation
The Two18 is a passive monitor that requires a recommended 50 to 200 watts of external power amplification. Recommended - The advantage of a passive design is that the enclosure can remain dedicated to the proper placement and implementation of drivers, rather than dedicating half of the cabinet to the amplifier and cooling devices. It also enables the external power amp to be laid out as in the best way possible for optimal performance. The Amphion Amp100 or Amp500 are purpose-built to be perfect partners for the Two18.
*PAD For the Record: Mixing quietly in mono from a single point-source monitor, such as the old single-speaker Auratones (the 5" bookshelf speaker you see sitting on the meter bridge of world-class studios), is one of the best-kept secrets for mix balance and translation. Point-source monitors eliminate the phase and crossover coloration based on the physical distance between the drivers. Another advantage of mono point-source mixing is consistent balance regardless of the position of your head in relation to the monitor.
Controlled dispersion via custom Corian waveguide
According to Amphion founder, Anssi Hyvönen, point-source is the only way to properly reproduce sound. Even though Amphion monitors don’t look like it, they behave like point-source monitors due to the crossover at 1.6kHz, which leaves the critical listening range of 2kHz to 5kHz untouched. Additionally, the Corian waveguide deals with the physical properties of point-source monitoring.
Amphion’s custom waveguide is responsible for the Two18’s wide dispersion and simultaneous ability to physically act as a point-source monitor. While this would appear to be counterintuitive, since a point-source monitor would have a tweeter inside a woofer, the goal of the waveguide is to eliminate the phase shift that would otherwise occur due to the physical distance between tweeter and driver. Point-source monitoring also eliminates the need for additional time-alignment circuitry. However, the downside of point-source monitors is that having the tweeter inside the woofer reduces dispersion and makes for a very narrow sweet spot. Amphion’s proprietary waveguide solves the problems of phase shift, time-alignment, and narrow dispersion.
To design their waveguide, Amphion chose Corian, a product created by DuPont for, believe it or not, kitchen and bathroom surfaces. Corian not only rivals the density of granite, it’s non-porous, highly reflective, and can be seamlessly molded into limitless forms via a process called thermoforming. Corian also lasts a lifetime. The Corian waveguide’s shape is determined via computer modeling and simulations to enable the Two18’s tweeter and woofer to function like a point source monitor.
Passive radiator bass enhancement
Another design philosophy adhered to by Amphion’s Anssi Hyvönen is that in his view, ported monitors should be banned from music making. The upside of ported speakers is that they can output more impressive low end than infinite-baffle systems (sealed cabinets), though they exhibit a steeper bass roll-off. The downside is that the waves emanating from them can make noise and interfere up the spectrum through the low mids and midrange. There’s also a possibility of smearing transients, as well as produce a phenomenon called one-note bass, wherein the resonant frequency of the cabinet overtakes the low end.
Amphion’s solution is the use of a passive radiator, which works much like the bass reflex in order to increase bass response in an otherwise too small cabinet. The radiator is a diaphragm used to cover an inconveniently large port. It also reduces port turbulence, which can interfere with the direct sound of the drivers. Amphion uses passive radiators in a sealed cabinet, which maintains the same low-frequency response regardless of volume—hence the Two18’s ability to remain true to the source at low levels.
What the pros are saying about the Amphion Two18:
“My Amphion system is the most truth I’ve ever had in a monitor setup.”
—Producer-engineer-mixer, Jacquire King (Kings of Leon, Tom Waite, No Doubt, Norah Jones)
“Beautiful, accurate, honest, inspiring!”
—Mixer-engineer-producer, Dave Reitzas (Madonna, Seal, Barbara Streisand, Mary J Blige)
“I love my Amphions!”
Audio engineer-producer, Jack Joseph Puig (The Black Crowes, John Mayer, Weezer, Green Day)
“…incredibly articulate from top to bottom.”
—Software designer, Casey Dowdell—Co-founder Bricasti Design
About Amphion
The overall design philosophy and aesthetic of Amphion’s founder, Anssi Hyvönen, is that monitors should reproduce music in all its natural splendor and beauty without adding or removing anything—just the pure and simple truth of what you’ve recorded or mixed. To achieve this goal, Amphion has spent considerable effort developing technologies that provide an honest representation of program material, beginning with audiophile speakers.
Whether you are composing, tracking, mixing, or mastering, the Amphion studio monitors enable you to work faster and achieve premium results. These transparent and elegantly-truthful studio monitors are perfectly balanced, and easily respond to any acoustic environment, personal taste, or music genre.
The sound of the Amphion Two18 is as impressive as the list of professionals using it and their clients. Shouldn’t a pair be on your workstation or meter bridge? For more information, call or chat online with your PAD Professional today.
Specifications
- Operating principle: Two-way, passive radiators
- Drivers: 1" (25mm) titanium tweeter; 2x 6-1/2" (150mm) aluminum woofers
- Crossover point: 1.6kHz
- Impedance: 4 ohm
- Sensitivity: 89dB @ 2.83V/1m
- Frequency response: 39Hz–20kHz ±3dB
- Power recommendation: 50–200W (External power amp required)
- Connectors: Binding post
- Dimensions (HWD): 21-21/32" x 7-1/2" x 12" (550 x 191 x 305 mm)
- Weight: 40 lb. (18 kg)
- Handmade in Finland
AMS Neve 1073 Mic Preamp & Equalizer
Regular price $3,795.00 Save $-3,795.00The AMS Neve 1073 Mic Preamp & Equalizer is an exact reproduction of Rupert Neve's original 10-series modular preamp, responsible for more classic vocal and instrument tracks than any other mic amp
This is the original modular design of the (insert words of praise here) 1073 preamp, the world's most used and most copied preamp that pro audio has to offer. The AMS Neve 1073 Mic Preamp and EQ not only fit AMS Neve vertical power racks, but it can also be used as a replacement module for vintage 80-series consoles, such as the 8068. The 1073 Mic Preamp and EQ is completely handcrafted by Neve's dedicated professionals to the exact specifications of the original modules. To ensure the sound remains true to the original, AMS Neve spared no expense acquiring the original components, including the custom Neve-designed Marinair™ input and output transformers that give the 1073 its depth and sonic richness. The 1073 is universally considered to be the essence of the “Neve” sound.
AMS Neve 1073 Mic Preamp & Equalizer-Just the Facts:
- Classic transformer microphone preamp amp (Class-A design)
- Exclusive Neve Marinair transformers used on input and output stages
- Hand-built and hand-wired to original 1970s design
- Both inputs are transformer-balanced and earth-free
AMS Neve 1073 Mix Preamp & Equalizer-Under the Hood
The Class-A design 1073 microphone preamplifier features 3 bands of EQ with one fixed high-frequency band, two switchable bands with cut and boost, and a high pass filter. All Neve channel amplifiers are designed to accept signals from a wide range of microphone and line sources.
1073 EQ Bands and Controls:
- High frequency: Smooth+/-16dB fixed frequency shelving at 12kHz
- Low frequency: Smooth+/-16dBs helving with selectable frequencies of 35Hz, 60Hz, 110Hz, and 220Hz
- Mid frequency: Smooth +/-18dB peaking, fixed 'Q' with selectable center frequencies of 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz, and 7.2kHz
- High-pass filter: Switchable between 50Hz, 80Hz, 160Hz, and 300Hz; 18dB per-octave slope
- EQL button: Switches the equalizer in or out of circuit
- Phase button: Gives 180° phase change at balanced output
Does AMS Neve make 'em as good as the old ones?
Before we get into the testimonials, it's important to recognize that electronics don't improve with age. All electronics components generate heat, and heat is the enemy of electronics. As such, it's far more likely that a new 1073 built to original specs is going to sound just as good, if not better. Now, back to our regularly scheduled program.
Lynn Fuston of 3D Audio, well known in Nashville recording circles, also the creator of “Preamps in Paradise,” an ear-opener for audio professionals, performed an in-depth review of the modern-day 1073 versus a vintage model for EQ Magazine.
No stranger to the 1073 in his own studio, Fuston wrote: “The Neve 1073 is probably the most famous and possibly most desirable preamp in the history of recording. Designed by the Rupert Neve company in the early 70s, it has earned its place as the ‘gold standard' among preamps. This discrete transistor mic/line amp with 3 band EQ and high pass may not be the flattest or cleanest or fastest preamp design, but it epitomizes the ‘Neve essence,' meandering it to generations of engineers and producers worldwide. When I gathered seven world-class engineers together for the Preamps in Paradise video and asked about a ‘desert island preamp,' three of the seven said without hesitation ‘Neve 1073.' With all the preamp options today (who knows how many models from almost 200 manufacturers?), finding so much agreement in such an elite group is a testament to the desirability and sound of the 1073.”
Apart from the difficulty in telling the vintage and modern unit apart physically, and noting the wear on the controls and noisy switches on the vintage unit, Fuston's conclusion after strenuous testing is as follows:
“All in all, I think AMS-Neve has done a spectacular job of recreating a classic and the new module is quite worthy to wear the Neve symbol and the 1073 name. Those who purchase one won't have "vintage Neve" bragging rights but they won't have old gear frustrations either. They will certainly be entitled to say ‘I have a Neve 1073' without reservation.”
Options
The 1073 can be purchased as single or multiple units. Each 1073 module has been designed to perfectly retrofit into the 80-series Neve classic consoles as part of a channel strip or can be mounted in a custom rack. The available rack sizes are 3U (which accommodates 2 modules horizontally) or 5U (which accommodates 8 modules vertically).
The Neve 1073 mic pre and EQ adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and more effectively captures a precise image. For more information call or chat online with your PAD Studio Specialist today.
Specifications
- Microphone Input: Input impedance 300 ohm or 1,200 ohm; gain +80db to +20dB in 5dB steps
- Line Input: Input impedance 10k ohms, gain +20dB to -10dB in 5dB steps
- Output: Maximum output is >+26dBu into 600 ohm; transformer-balanced and earth-free
- Output impedance: 75 ohm @ 1kHz
- Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) into 600 ohm
- Frequency response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz (EQ out)
- Noise: Not more than -83dBu at all line gain settings EQ In/Out (22Hz to 22kHz bandwidth),
- EIN: Better than -125dBu @ 60dB gain
Physical
- Height: 8-3/4" (222 mm)
- Width: 1-7/8" (45 mm)
- Depth: 10" (254 mm)
- Weight: 5.5 lb. (2.5 kg)
AMS Neve 1073 SPX
Regular price $1,795.00 Save $-1,795.00The AMS Neve 1073SPX is a single-channel, transformer-coupled preamp built to the exact specifications of the original 1073 replicating its sonics precisely, with optional digital I/O module giving your DAW a complete Neve front end.
Since its introduction in the early '70s, the Neve 1073 10-series console module preamp established itself as audio royalty. The thinking behind the 10-series was to provide the same preamp topology with various equalizer sections to provide versatility for the 80-series consoles. Of all the options, the EQ section of 1073 module emerged as the favorite, mostly due to the 12kHz high-frequency shelf. What set the 1073 apart from the pack was its wide bandwidth frequency response and the rich-sounding secret sauce provided by Neve-designed custom Marinair transformers (“Marinair” sauce . . . heh, good one). Fast-forward to today, the 1073SPX maintains the classic 1073 sound with added functionality, including an integrated DI input, phantom power, selectable insert, level meters, output level control, and front-panel input connectors for easy access. With a 1U rackmount chassis, the 1073SPX includes an external universal PSU and removable panel for an optional digital I/O module giving you a complete Neve-quality DAW front end.
AMS Neve 1073SPX-Just the Facts:
- Genuine Neve 1073 transformer-coupled microphone preamplifier and equalizer in a single 1U 19″ rack mount enclosure
- Exclusive Neve Marinair input and output transformers
- Convenient front-panel connectors for Mic, Line, and DI inputs with switchable mic/line input connectors on the rear panel
- Switchable +48V phantom power, selectable high and low impedance, 20dB pad, and ground lift for the DI
- Switchable phase, EQ in/out
- Insert send and return loop allows external equipment to be connected easily to the 1073SPX audio chain, such as mono limiter/compressors
- Pre-EQ insert send/return - a line level send is available from the mic-preamp output stage and a return just before the EQ stage
- Post-EQ insert send/return - a line level send is available from the post-EQ stage and a return just before the main output stage
- 7-stage LED signal level meter displays mic/line/DI input level, EQ level, or output level up to +24dB
- Output level control
- External multi-voltage, universal power supply
- Optional 24-bit/192kHz digital I/O module with mastering-grade A/D, AES3 and FireWire I/O
Neve 1073SPX-Under the Hood
Like its forebear, the 1073SPX has an authentic transformer-coupled Neve 1073 Class-A microphone preamplifier, with 3-band EQ (fixed HF plus two switchable bands with cut/boost capability). This simple yet highly musical equalizer simply makes everything sound the way it should. For example, if you want the perfect snare sound, with body and high-end sizzle, a boost at the low band's 220Hz, mid-band 7.2kHz, and high shelf 12k and you're there. It also features a high-pass filter, to keep low-end rumble out of your mix. The 1073SPX transformer-based sonic richness will add warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and captures a more precise image. In essence, the genuine Neve sound revered by engineers and producers the world over.
Digital option module
Just as AMS Neve knows its way around analog preamp design, as makers of the 88D console, reputed to be the best sounding digital console made, you can be assured that the quality of conversion is nothing less than what you'd expect from Neve. The optional Digital I/O module can be fitted (or retrofitted) into the 1073SPX and provides AES and FireWire digital connectivity at sample rates up to 192kHz. The digital option module uses mastering-grade converters. The added convenience of digital connectivity provide Neve quality throughout the entire signal chain into your DAW-it doesn't get better than that, baby.
The AMS Neve 1073SPX gives you authentic Neve sound with a little something extra, along with optional Neve mastering-quality conversion, giving you an unbeatable front end for your DAW. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
- Mic Input Impedance: 300 ohm or 1200 ohm, gain +80dB to +20dB in 5dB steps.
- Line Input Impedance: 10k-ohm bridging, gain +20dB to -10dB in 5dB steps. Both inputs are transformer-balanced and earth free.
- DI Input Impedance: 1M ohm (PAD off) 10k ohm (PAD on). Gain +80dB to +20dB in 5dB steps.
- Output: Maximum output is >+26dBu into 600 ohm. Output impedance is 75 @1kHz. Outputs are transformer balanced
- Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) into 600 ohm
- Frequency Response: +/-0.5dB 20Hz to 20kHz, -3dB at 40kHz EQ out
- Noise: Not more than -82dBu at all Line gain settings, EQ In Flat/Out (22Hz to 22kHz bandwidth, 150 ohm input termination), EIN better than -125dBu @ 60dB gain.
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AMS Neve 1073 Vertical 8 Module Rack (Empty)
Regular price $3,795.00 Save $-3,795.00The AMS Neve 1073/1084 5U 8-Module Vertical Rack is an 8-channel, 5U empty power rack for the AMS Neve 1073, 1081, 1084, and 2264A modules, with phantom power, output level controls, and IEC mains connector
If you don't have a classic Neve 80-series console that needs to be retrofit with 1073, 1081, 1084, or 2264A modules, you're going to need a place to put them and power them up. That's where the AMS Neve 1073/1084 5U 8-channel power rack comes in. For decades, it's been a common practice to pirate vintage Neve desks for their 1073 preamps and rack them for outboard use in modern studios. Of course for the modules to be functional, you needed someone who knew their way around a soldering iron to build racks with power and I/O for studio integration. Since we're running out of Neve desks to pillage, AMS Neve, due to unceasing demand, builds exacting replicas of these classic preamps (and 2264A compressor) to function just like the vintage models, as well as robust and reliable power racks to house them. The 5U rack houses up to eight modules mounted vertically in a 19" rack-mounting unit. The rear panel has XLR connectors for transformer-balanced I/O, 25-way “D-type” connectors for spare switch contacts and unbalanced outputs, plus an IEC connector for mains power.
AMS Neve 1073/1084 5U Rack-Just the Facts:
- 5U power rack for up to eight AMS Neve modular preamps or 2264A compressor
- Front-panel +24/-48V phantom power switches
- Front-panel output level controls
- XLR outputs
- DB-25 connector for spare switches or unbalanced output
- IEC mains power connector
- Boat-anchor build quality
AMS Neve 5U Rack-Under the Hood
The mains fuse is located in the IEC mains input connector on the rear of the 3U and 5U rack units. Secondary protection fuses for the 24V and 48V supplies are located behind the front panel on the power supply filter PCB SZN825-058 in both 3U and 5U rack units. The red LED on the front panel of both 3U and 5U rack units indicates +24V power healthy when illuminated. The green LED on the front panel of both 3U and 5U rack units indicates +48V power healthy when illuminated.
Phantom Power
Phantom power can be supplied to each module by pressing the phantom power switch on the front panel of the 3U or 5U rack. The LED in the switch will illuminate confirming that phantom power is supplied.
Output Level Control
Each channel has an independent Output Level Control. The control is post-input, post-EQ and pre-output. This control allows the input and EQ to operate at a higher level and then for the signal to be returned to a normal operating level at the output. When the Output Control is fully clockwise the output gain is unity. The output is 10dB down with the control in the mid-position.
If you're ready for an eight-channel Neve system, or want to work your way up to it, you'll need a convenient way to rack, power up, and connect them to your studio. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
Power Requirements:
- Rated voltage: 100-230V AC
- Rated frequency: 50-60 Hz
- Rated current: 0.8A Max
- Surge current (In Rush) Cold: 31.0A
- Surge current (In Rush) Hot: 33.0A
- Earth leakage current: Approx. 1.3mA
- Warning for high earth leakage current required: No
Primary protection fuse:
- Operating voltage: 100-230V AC
- Fuse rating and type: T1.6A H 250V; 20mm x 5mm Ceramic
- Location: IEC Mains connector
Secondary Protection Fuse:
- Output voltage: 24V DC
- Fuse rating and type: T 1.0A L 250V 20mm x 5mm Glass
- Location: F1 on SZN825A058
- Output voltage: 48V DC
- Fuse rating and type: T 500mA L 250V 20mm x 5mm Glass
- Location: F2 on SZN825A058
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AMS Neve 1073/1084 Horizontal 2 Module Rack (Empty)
Regular price $2,030.00 Save $-2,030.00
**Backordered. ETA is 18-20 weeks**
The AMS Neve 1073/1084 Horizontal Rack is a 2-channel, 3U empty power rack for the AMS Neve 1073, 1081, 1084, and 2264A modules, with phantom power, output level controls, and IEC mains connector.
If you don't have a classic Neve 80-series console that needs to be retrofit with 1073, 1081, 1084, or 2264A modules, you're going to need a place to put them and power them up. That's where the AMS Neve 1073/1084 3U 2-channel power rack comes in. For decades, it's been a common practice to pirate vintage Neve desks for their 1073 preamps and rack them for outboard use in modern studios. Of course for the modules to be functional, you needed someone who knew their way around a soldering iron to build racks with power and I/O for integration into a studio. Since we're running out of Neve desks to pillage, AMS Neve, due to unceasing demand, builds exacting replicas of these classic preamps (and 2264A compressor) to function just like the vintage models, as well as robust and reliable power racks to house them. The 3U rack houses two modules mounted horizontally in a 19" rack-mounting unit. The rear panel has XLR connectors for transformer-balanced I/O, a 25-way “D-type” connector for spare switch contacts and unbalanced outputs, plus an IEC connector for mains power.
AMS Neve 1073/1084 3U Rack-Just the Facts
- 3U power rack for two AMS Neve modular preamps or 2264A compressor
- Front-panel +24/-48V phantom power switches
- Front-panel output level controls
- XLR outputs
- DB-25 connector for spare switches or unbalanced output
- IEC mains power connector
- Boat-anchor build quality
AMS Neve 3U Rack-Under the Hood
The mains fuse is located in the IEC mains input connector on the rear of the 3U and 7U rack units. Secondary protection fuses for the 24V and 48V supplies are located behind the front panel on the power supply filter PCB SZN825-058 in both 3U and 7U rack units. The red LED on the front panel of both 3U and 7U rack units indicates +24V power healthy when illuminated. The green LED on the front panel of both 3U and 7U rack units indicates +48V power healthy when illuminated.
Phantom Power
Phantom power can be supplied to each module by pressing the phantom power switch on the front panel of the 3U or 7U rack. The LED in the switch will illuminate confirming that phantom power is supplied.
Output Level Control
Each channel has an independent Output Level Control. The control is post-input, post-EQ and pre-output. This control allows the input and EQ to operate at a higher level and then for the signal to be returned to a normal operating level at the output. When the Output Control is fully clockwise the output gain is unity. The output is 10dB down with the control in the mid-position.
If you're ready for a two-channel Neve 1073/1081/1084 front end, or a stereo pair of 2264A compressors, you'll need a convenient way to rack, power up, and connect them to your studio. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
- Rated voltage: 100-230V AC
- Rated frequency: 50-60 Hz
- Rated current: 0.5A Max
- Surge current (In Rush) Cold: 31.0A
- Surge current (In Rush) Hot: 33.0A
- Earth leakage current: Approx. 1.2mA
- Warning for high earth leakage current required: No
Primary protection fuse:
- Operating voltage: 100-230V AC
- Fuse rating and type: T1.6A H 250V; 20mm x 5mm Ceramic
- Location: IEC Mains connector
Secondary Protection Fuse:
- Output voltage: 24V DC
- Fuse rating and type: T 1.0A L 250V 20mm x 5mm Glass
- Location: F1 on SZN825-058
- Output voltage: 48V DC
- Fuse rating and type: T 500mA L 250V 20mm x 5mm Glass
- Location: F2 on SZN825-058
Physical:
- Height: 5-1/4" (134 mm)
- Width: 19" (483 mm)
- Depth: 15-3/4" (400 mm)
- Weight: 37 lb. (17 kg) (fully loaded)
AMS Neve 1073DPA
Regular price $2,595.00 Save $-2,595.00A cost-effective addition to the AMS Neve outboard range, the AMS Neve 1073DPA provides two world-famous Class-A Neve 1073 microphone preamplifiers in a single rackspace.
The Neve 1073 is the most used and most copied preamp in the history of the recording industry. Originally designed as a modular unit for the Neve 80-series consoles, the 10-series modules, which included the 1073, 1066, 1081, and 1084. The concept of the 10-series was to use the same preamp in all models for sonic consistency across the console and outfit each module with a different equalizer to provide tone-shaping options. The AMS Neve 1073DPA gives you two preamps found in the 1073 without the EQ section-just the Class-A, wide-bandwidth design with custom input and output transformers that put Neve designs atop the throne of audio royalty. With the 1073DPA, the highly sought-after 1073 mic amp sound is now available in a cost-effective 1U stereo rackmount solution, without the additional EQ found on the classic 1073.
AMS Neve 1073DPA-Just the Facts
- Two legendary 1073 microphone preamps in a convenient 1U rackmount design
- Hand-crafted and hand-wired by Neve in Burnley, UK
- Exclusive Neve Marinair™ transformers used on input and output stages
- Dedicated input Gain controls and output Trim controls on both channels
- +48V Phantom Power and Phase Reverse switch
- High-quality Input Selector switch
AMS Neve 1073DPA-Under the Hood
The 1073DPA provides the legendary sound of Neve in a remarkably simple format. Two rear-panel Mic inputs and Line inputs feed dual Class-A gain stages, with adjustable Gain control and selectable +48V available on the Mic inputs. Class-A analog balanced XLR outputs are found on the rear panel, controlled via adjustable front-panel ±10dB trim controls. This stereo unit is the perfect solution for studios looking to bring in the very essence of the legendary Neve 1073 sound.
Mic Input
The transformer-coupled mic input stage has a switchable impedance of 1,200 ohms (Hi-Z) or 300-ohm (Lo-Z). +48V phantom power is switchable onto the mic input. Mic gain is across two Class-A gain stages. The signal then feeds a transformer-balanced Class-A output stage via a +/-10dB trim.
Line Input
The 1073DPA has an electronically balanced input stage with 20k-ohm input impedance and +26dBu peak signal level. Gain from this input is applied in the second Class-A gain stage and is output through the same Class-A transformer-coupled output stage as the mic input.
Line Output
Phase reversal is available pre line output. The line output has a minimum +26dBu peak output level. The peak LEDs will illuminate 3-4dB below clipping.
The big, punchy sound of the Neve 1073 makes it the consummate mic pre for recording vocals, guitars, and acoustic instruments of all types. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
Input Impedance:
- Mic switchable: 300 ohm or 1,200 ohm
- Line: 20k ohm
Frequency Response:
- 60dB gain into 600ohm +/-0.5dB: 20Hz to 20kHz
- 60dB gain into 600ohm -3dB: 20Hz to 40kHz
EIN:
- Mic 60dB gain: <-125dB
THD + Noise:
- +20dBu into 600ohm 50Hz to 10kHz: <0.07%
![AMS Neve 1073DPD](http://opticecho.myshopify.com/cdn/shop/files/ee820d818593a7c72e0931753bb88ecd_{width}x.jpg?v=1717761666)
AMS Neve 1073DPD
Regular price $3,150.00 Save $-3,150.00The AMS Neve 1073DPD is the sibling of the 2-channel 1073DPA adding the Neve-designed 24-bit/192kHz/DSD analog-to-digital converters to classic Neve 1073 Class A preamps
If you're not familiar with the legacy of the Neve 1073, well . . . welcome to Earth! Ask any producer or recording engineer what their desert island preamp is, and invariably, the Neve 1073 will come up just about every time. The most copied preamp on the planet, it would be more appropriate to ask what influential recordings the 1073 hasn't been used on since its introduction in 1970 through today. Perhaps the greatest achievement of the Neve 1073 is that it gave solid-state circuits the rich euphonic sound of tubes, and the punch that put the rock into roll. It was also the first wide-bandwidth preamp designed to be linear and low-noise past the range of human hearing.* Along with the character of the preamp, thanks to its Neve-designed Marinair™ custom input and output transformers, the 1073DPD has 60dB gain with a ±10dB input trim control, variable input impedance, plus 24-bit/44.1-192kHz conversion and DSD output for audio quality beyond PCM technology-and of course the signature Neve sound.
AMS Neve 1073DPD-Just the Facts:
- Two legendary 1073 microphone preamps in a convenient 1U rackmount design
- Superior Neve-designed analog-to-digital 24-bit converters
- 192Khz operation with DSD conversion, selectable via front-panel controls
- Exclusive Neve Marinair™ transformers used on input and output stages
- Dedicated input Gain controls and output Trim controls on both channels
- +48V phantom power and phase-reverse switch
- High-quality Input selector switch
- Hand-crafted and hand-wired by Neve in Burnley, UK
* PAD Tech Note: According to Mr. Rupert Neve, if harmonics beyond human hearing exist in nature they shouldn't be ignored in audio capture, as they traditionally were in designs band-limited to 20kHz. His favorite demonstration of his hypothesis is using a tone generator to produce a sine wave at 12kHz, which anyone can hear, and switches it to a square wave, which produces a timbral difference audible to all. The only difference between the two waves is that a square wave adds a single octave harmonic at 24kHz, which is beyond our ability to hear on its own.
AMS Neve 1073DPD-Under the Hood
The 1073DPD features the same wide-bandwidth, transformer-balanced design as all preamps in the Neve 10-series. Despite its power, the 1073DPD is remarkably simple to operate. Two rear-panel mic inputs and line inputs feed dual Class-A gain stages, with adjustable gain control and selectable +48V available on the mic inputs. Class-A, transformer-balanced XLR outputs are also found on the rear panel, controlled via adjustable front-panel ±10dB trim controls. Analog insert points are provided ahead of the A/D converters to ensure the classic Neve sound is retained.
Neve-designed digital conversion
With the 1073DPD, two Neve 1073 mic preamplifiers are complemented by superb Neve-designed analog-to-digital converters that can capture a performance in any required format. In addition to Neve's famous Class A analog outputs, are a series of digital options, including all standard PCM sampling rates from 44.1kHz up to 192kHz, selectable via convenient front-panel controls. A unique feature of the 1073DPD is the Neve DSD (Direct Stream Digital) output, providing quality far beyond PCM technology.
The input to the converter is fed from the Line Output XLR. This ensures that the digital output signal includes the analog Class A output and transformer coloration.
The signal passes to the ADC via a 1/4" jack Insert point. A balanced signal can be plugged into the Insert jack and it will break the path from the Line Output to the ADC, substituting the Insert signal.
The Insert point has a peak signal level of +18 and +26dBu. This allows the user to use the ADC independently of the Mic/Line amps or to put a piece of outboard equipment such as a compressor between the Mic/Line amps and the ADC. With no Insert signal, the signal is output as both analog line out and digital out enabling the analog to be used for zero-latency monitoring whilst the digital output signal with its inherent conversion delay is being used for recording.
The ADC is set up to output 0dBFS with +26dBu at the Line Output or Insert point but can be changed to output +18dBu for 0dBFS.
Sampling frequency
The left-hand format switch selects the 44.1kHz PCM range, the 48kHz PCM range or DSD. The right-hand sample rate switch selects which multiple of the sampling rate to use e.g. 48, 96 or 192kHz.
With 44.1kHz selected the multiple LEDs illuminate red, with 48kHz range selected the multiple LEDs illuminate green. Selecting DSD only allows 44.1kHz sync (the multiple LEDs are all off).
Sync inputs
The 1073DPD has two sync inputs; AES3 on a female XLR and word clock on a chassis BNC. If neither Sync Input is present the unit will synchronize to its internal crystal clock. If one or other sync input is present at the correct sampling frequency selected on the front panel the LED (AES or WCLK) will illuminate green showing that the sync input is being used as a reference. If both sync inputs are present and correct the word clock input will be used as reference. Normally the sync input is set to the required sample rate. In this case, both AES Out 1L and AES Out 2R carry the same stereo AES signal converted from the left and right analog inputs.
Double-rate AES output
It is also possible to select 96kHz (or 88.1kHz) sampling rate with a 48kHz (or 44.1kHz) sync input. Similarly, it is possible to select 192kHz (or 176.2kHz) sampling rate with a 96kHz (or 88.1kHz) sync input. This will cause the unit to output double rate AES on the two output AES connectors. The sync LED will still illuminate green indicating the sync reference is still being used for the digital output even though the ADC is sampling at twice the sync input sampling rate. In this situation, AES OUT 1L carries the odd and even samples of the left audio double rate signal on its Left and Right digital channels respectively. Similarly, AES OUT 2R carries the odd and even samples of the right audio double rate signal on its Left and Right AES channels.
DSD
Selecting DSD will default to 44.1kHz reference. If no sync is available it will use the internal crystal reference. The interface requires a minimum of two BNC cables (DSD L and DSD R) to the DSD DAC.
The DSD output is switchable between SDIF2 and SDIF3 with the rear panel dip switch. SDIF2 requires a 44.1kHz sync signal to be passed to the DAC and this should preferably come from the 1073DPD sync output via a third BNC cable. SDIF3 transmits the DSD signals with clock information included and should not need the sync signal.
The combination of legendary Neve analog circuitry and superior digital quality makes the 1073DPD the obvious choice as a front-end for recording to digital workstations. For more information, call or chat online with your PAD Studio Specialist.
Specifications
Input Impedance:
- Mic switchable: 300 ohm or 1,200 ohm
- Line: 20k ohm
Frequency Response:
- 60dB gain into 600ohm +/-0.5dB: 20Hz to 20kHz
- 60dB gain into 600ohm -3dB: 20Hz to 40kHz
EIN:
- Mic 60dB gain: <-125dB
THD + Noise:
- +20dBu into 600ohm 50Hz to 10kHz: <0.07%
1073DPD ADC
Input impedance
- 20k ohm
Frequency response:
- 48kHz ± 1.25dB: <10Hz to 20kHz
- 96kHz ±1dB: <10Hz to 40kHz
- 192kHz ±1dB: <10Hz to >40kHz
Dynamic range:
- >106dB (+26dBu setting)
AMS Neve 1073DPX
Regular price $3,250.00 Save $-3,250.00The TEC award-winning AMS Neve 1073DPX features dual 1073 preamp/EQs in a 2U standalone rack with additional features including output level control, pre-EQ, post-EQ, post output stage metering, insert loop, instrument DI, stereo headphone jack, and slot for digital I/O option card with sample rates up to DXD 384
The AMS Neve 1073DPX answers the age-old question, “What's better than a Neve 1073 preamp and EQ?” The answer is: two Neve 1073 preamp and EQs. The 1073DPX also solves another dilemma you'll have if you buy a single 1073, which is that fact that you're going to want two of them. Like potato chips, one is never enough. After all, you're going to want to record drum overheads with classic Neve sound, but how are you going to feel when you look down at your rack and realize that something's missing-and you can only record half a drum kit. Then again, you may want to put two mics on that guitar cabinet; mic on the top and bottom of a Leslie speaker; close and distance mic on an acoustic guitar; or simply record everything in stereo to take advantage of the spatial realism that comes with Neve 1073 preamps. The 1073DPX holds two separate 1073s in a standalone 2U rackmount unit. The 1073DPX retains the same basic circuitry and sonic essence as the original 1073, but includes many additional features to accommodate the modern studio environment. And with the Digital I/O (AES/FireWire) option card, the AMS Neve 1073DPX makes a DAW front end that can't be beaten.
AMS Neve 1073DPX-Just the Facts:
- 2 independent, genuine Neve 1073 transformer-coupled microphone preamplifier/EQ circuits, in a single 2U 19" rackmount enclosure
- Exclusive Neve custom Marinair™ input and output transformers
- Convenient front-panel connections for Mic, Line, and DI inputs, with switchable mic/line input connections on the rear panel
- Switchable +48v phantom power, Hi/Lo impedance, -20dB pad, and DI ground-lift on the input stage
- Switchable phase, and EQ in/out
- Insert send and return loop feature allows external equipment to be connected easily to the 1073DPX audio chain, such as mono/stereo limiter/compressors
- Pre-EQ insert send/return - a line level send is available from the mic- preamp output stage and a return just before the EQ stage
- Post-EQ insert send/return - a line level send is available from the post-EQ stage and a return just before the main output stage
- Independent channel output level controls
- 7-stage LED signal level meters for each channel can show mic/line/DI input-stage level, EQ-stage level, or output-stage level up to +24dB
- Headphone output with adjustable volume control can listen to channel 1, channel 2, or both channels combined
- External multi-voltage PSU
- Optional Digital I/O module supports AES and FireWire at sample rates from 24-bit/44.1kHZ to DXD 384
- Winner of TEC, Sound On Sound, and Resolution Magazine awards for best preamp and technical innovation
AMS Neve 1073DPX-Under the Hood
The multi award-winning 1073DPX has two channels of Neve 1073 Class A design microphone preamplifiers, each with 3-band EQ (fixed HF plus two switchable bands with cut/boost capability) and high-pass filter, adding warmth and depth to recordings, bringing out subtle ambience, maintaining spatial positioning, and capturing a more precise image-the essence of the genuine Neve sound.
With classic Neve 1073 module features as a jumping-off point, the 1073DPX introduces extra functionality with integrated DI input, phantom power, selectable Insert feature, level meters, selectable headphone monitoring, and front input connectors on each channel for easy and direct connection of microphones and instruments. The 19” rack-mount 2U unit includes an external multi-voltage PSU.
An optional Digital I/O module can be fitted into the 1073DPX and provides AES and FireWire digital connectivity at a range of sample rates. Mastering-grade converters are used and the simple configuration and convenience of digital connectivity make the 1073DPX the ultimate front-end for capturing the best possible recordings. When combined with the rich euphonic sound of the 1073 mic preamp and EQ, the 1073DPX gives you the ultimate front-end for your DAW.
AMS Neve 1073DPX front-panel controls
Power
- Switches the unit on or off. The adjacent LED lights when the unit is on
Front
- Switches the audio input to the front mic/line combo connector
Note: The DI input always overrides the Mic input, whether the FRONT switch is pressed or not
DIGI
Switches the line input and output to the rear digital module. In digital mode, the front/rear mic input, DI input, and analog line output continue to operate normally
Note: The digital module is an optional extra and is not included as standard.
XLR/Jack Combo Input
- Use the XLR input for microphone sources and the 6.35mm jack input for line-level sources
48V
- Applies 48V phantom power to the XLR microphone input (front and rear). The adjacent LED lights when phantom power is active
Lo-Z
- The default input impedance on the microphone input is 1,200 ohm. Pressing the Lo-Z switch reconfigures the input for 300-ohm input impedance
Lift
- Provides ground lift for the DI input. If hum/buzz occurs when using a DI input, pressing this switch may alleviate the problem by breaking any ground loop
-20
- Provides 20dB of attenuation to the DI input. In the default position (no attenuation) the input impedance of the DI input is approximately 1M ohm. When set to -20dB attenuation (switch depressed) the input impedance of the DI input is approximately 10k ohm
DI I/P
- High-impedance balanced input for direct injection
Note: When a 6.3mm jack is inserted into the DI input, all other microphone inputs are automatically disconnected. Use the Mic side of the gain control when using the DI input.
High Frequency
- Smooth +/-16dB fixed frequency shelving at 12kHz
Mid Frequency
- Smooth +/-18dB peaking, fixed 'Q' with selectable center frequencies of 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8Kh, 7.2kHz
Low Frequency
- Smooth +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 10Hz, 220Hz
High-Pass Filter
- 18dB per octave slope, switchable between 50Hz, 80Hz, 160Hz, 300Hz
Phase
- Reverses the phase of the output signal. In the default position, absolute phase is preserved through the unit
EQ
- Switches the equalization circuit into the signal path
INS
- Switches the insert loop into the signal path
PRE
- Positions the insert loop before the equalization circuit (pre-EQ). In the default position (switch not depressed) the insert loop is positioned immediately after the equalization circuit (post-EQ)
Level
- Adjusts the output audio level. This control is post-EQ be pre-output stage. The thick line on the graticule indicates the point of nominal unity gain; the unit has ~5dB in hand. Pressing this knob cycles the level meter takeoff point through three possible points in the signal path, indicated by the adjacent LEDs
Take-off LEDs and Clip Indication
- One of three LEDs lights green to indicate the selected takeoff point for the level meter, chosen by pressing the LEVEL knob. The three possible takeoff points are pre-EQ, post-EQ, post output stage. In addition, LEDs will light red if their respective takeoff point is close to clipping. Clip indication is always active whichever takeoff point happens to be selected
Level Meter
- Peak-responding level meter. The audio level can be monitored at one of three locations chosen by pressing the LEVEL knob
Volume
- Controls the volume of the headphone output
- Pressing the knob cycles the headphone monitoring location through three options, indicated by the adjacent
- LEDs: Channel 1 only; Channel 1 (left ear) + Channel 2 (right ear); Channel 2 only
Phone Jack
- Stereo headphone output jack
AMS Neve 1073DPX rear panel
- +48V DC: Connects the accompanying power supply (PS10501) to power the unit
- Fuse: Always use the correct fuse rating as indicated beside the fuse holder: T1A, 250v 20mm, Ø 5mm
- Mic input: Balanced XLR-F
- Line input: Balanced XLR-F
- Line output: Balanced XLR-M
- Insert send: Balanced 1/4" line-level output for insert loop
- Insert return: Balanced 1/4" line-level input for insert loop
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Digital option panel: Optional Digital I/O module fitted here
The AMS 1073DPX is the classic 1073 expanded for the modern age. Whether you're looking for a golden stereo channel or the ultimate DAW front end, you'll find all that and more in the 1073DPX. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
- Microphone Input: Input Impedance 300 ohm or 1,200 ohm, gain +80dB to +20dB in 5dB steps
- Line input: Input Impedance 10k ohm bridging, gain +20dB to -10dB in 5dB steps; both inputs are transformer-balanced and earth-free
- DI input: Input impedance 1M ohm (PAD off) 10k ohm (pad on); Gain +80dB to +20dB in 5dB steps
- Output: Maximum output is >+26dBu into 600 ohm
- Output impedance: 75 ohm @1kHz; outputs are transformer-balanced and earth-free
- Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) into 600 ohm
- Frequency response: +/-0.5dB 20Hz to 20kHz, -3dB at 40kHz (EQ out)
- Noise: Not more than -82dBu at all line gain settings; EQ in flat/out (22Hz to 22kHz bandwidth, 150 ohm input termination)
- EIN: Better than -125dBu @ 60dB gain
- Power: 48VDC, 480mA ±20mA excluding digital module; negative earth
Physical
- Height: 3-1/5" (88 mm)
- Width: 19" (480 mm)
- Depth: 14" (356 mm)
- Weight: 10 (22 lb.)
AMS Neve 1073LB 500-Series Mono Mic Preamp
Regular price $1,095.00 Save $-1,095.00The AMS Neve 1073LB is the only preamp that brings the authentic sound of recording's most highly prized preamp, the Neve 1073, to 500-series racks everywhere.
Ask any producer or recording engineer what their desert island preamp is, and invariably, the Neve 1073 will come up just about every time. The most copied preamp on the planet, it would be more appropriate to ask what influential recordings the 1073 hasn't been used on since its introduction in 1970 through today. Perhaps the greatest achievement of the Neve 1073 is that it gave solid-state circuits the rich euphonic sound of tubes, and the punch that put the rock into roll. It was also the first wide-bandwidth preamp designed to be linear and low-noise past the range of human hearing.* Along with the character of the preamp, thanks to its Neve-designed Marinair™ custom input and output transformers, the award-winning 1073LB boasts a staggering 80dB of ribbon mic-friendly gain, variable input impedance, input trim, and of course the signature Neve sound.
AMS Neve 1073LB 500 Series-Just the Facts
- Classic transformer microphone preamp amp (Class A design)
- Exclusive Neve Marinair transformers used on input and output stages
- Both Mic and Line inputs are transformer balanced and earth free
- Gain knob with Signal Presence LED
- +5/-20dB level Trim control with integrated phantom power on/off switch
- Phase, Impedance and Front Input selector switches
- Front combi-XLR connector with intelligent switching of phantom power
- Audio Processing Insert design allows processing from adjacent Neve 1073LBEQ and/or 2264ALB modules in same 500-series rack to be inserted into the 1073LB's pre-output stage
- Microphone Input: Gain -80db to -20dB in 5dB steps
- Line Input: Input impedance 4k ohms bridging, gain -20dB to +10dB in 5dB steps
- Output is transformer balanced and earth free
- Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output
- (80kHz bandwidth)
- Frequency Response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz
- Crafted in England by Neve engineers
* PAD Tech Note: According to Mr. Rupert Neve, if harmonics beyond human hearing exist in nature they shouldn't be ignored in audio capture, as they traditionally were in designs band-limited to 20kHz. His favorite demonstration of his hypothesis is using a tone generator to produce a sine wave at 12kHz, which anyone can hear, and switches it to a square wave, which produces a timbral difference audible to all. The only difference between the two waves is that a square wave adds a single octave harmonic at 24kHz, which is beyond our ability to hear on its own.
AMS Neve 1073LB-Under the Hood
Based on the limitations of the 500-series form, Neve engineers painstaking selected certain components for the 1073LB that matched the behavior of the originals, along with using the same architecture and original hand-wound transformers (which, incidentally, are more responsible for the warm sound attributed to tubes than tubes themselves actually are) to retain the unique sonics of the original 1073. (All I/O on the 1073LB is transformer-balanced and earth-free.)
The AMS Neve 1073LB also incorporates new features for the modern age, including a -10dB to + 5dB fine Trim control, which in conjunction with the main gain control gives you 85dB of gain for mics with extremely low sensitivity; a signal-presence LED, intelligent protected switching for the front-panel combi XLR/1/4" input connector; and Neve's Audio Processing Input design, which enables you to connect adjacent AMS Neve Lunchbox EQ and dynamics processors as in insert ahead of the 1073LB's output. Designed and manufactured in England, the 1073LB is VPR-compliant, and as such, compatible with API Lunchbox 500-series power racks.
1073LB front-panel controls
The front-panel controls of the AMS Neve 1073LB include a stepped (5dB) Input Gain knob, which runs from -20dB to +10dB for line input, -20dB to -80dB (negative gain means the output is inverted from the input) for the mic input (with an Off position between the 50 and 55dB steps). Below the gain control are three buttons for Lo-Z input impedance selection (1200 ohm/300ohm), a phase button, and an input selector (FR I/P) for Mic or Line selection. To the right of the buttons is the -10dB/+5dB continuous fine trim control, which also acts as an on switch for phantom power when pressed in. There is also an accompanying +48V red LED indicator when phantom power is on. Additionally, when Line is selected via the FR I/P control, phantom power is automatically turned off if active, in order to protect unbalanced, line-level input devices. And finally, at the bottom of the front panel is an XLR/1/4" combi-jack input connector.
1073LB rear panel
The rear panel has an INS LINK connector, which is used when a 1073LB Mic Pre module uses an adjacent AMS Neve module as a true audio insert across it, such as the 1073LB EQ. The cable that links the two modules together is supplied with the module you wish to use as the insert. There is also a Dip Switch Block (Issue 2 units only), that is used depending on whether the 1073LB is inserted into a non-API lunchbox.
Eminently suited for any musical genre, from rock to pop, hip-hop to rap, thrash to classical, the larger-than-life, signature sound of the AMS Neve 1073LB is 500-series rack ready. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
- Mic Input: Switchable impedance (300 ohm or 1200 ohm) Gain -80dB to -20dB in 5dB steps
- Line Input : Impedance 4k ohm bridging, Gain -20dB to +10dB in 5dB steps
- Max Output +28dBu
- Output Impedance 75 ohm @ 1kHz
- Distortion: 0.07% from 50Hz to 10kHz @ +20dBu output (80kHz bandwidth)
- Frequency Response: +/-0.5dB 20Hz to 20kHz, -3dB @ 40 kHz
- EIN: Better than -125dBu @ 60dB gain
- Noise: -82dBu at all Line gain settings (22Hz to 22kHz bandwidth)
AMS Neve 1073LBEQ 500 Series Mono EQ Module
Regular price $1,095.00 Save $-1,095.00The legendary Neve 1073 3-band equalizer for the 500-series.
AMS Neve gave 500-series aficionados their birthday wish when the 1073 became available to add sweetness to their lunchboxes. But what about the famous 1073 equalizer? After much pouting and breath-holding, until they turned Royal Air Force blue, AMS Neve rewarded us with a true 500-series 1073 EQ to work in tandem with the AMS Neve 1073LB preamps. Keep in mind that fulfilling such a request is not an easy thing to do. The 500-series imposes power limitations that can undermine the performance of the original model and size restrictions that make using the right components and circuitry difficult to impossible. The trick is finding alternative solutions that provide the same performance, and above all, the same signature sound as the original 1073. Who better than AMS Neve to accomplish that task, and the mono AMS Neve 1073LBEQ enables the 500-series user to have both the classic 1073 preamp and EQ in two acts. Crafted in England by Neve engineers, the module retains the unique sonic characteristics of the original 1073 EQ by using the same circuit architecture and matching components.
AMS Neve 1073LBEQ-Just the Facts
- Legendary 3-band EQ design
- Rotary controls provide accurate adjustment of the 1073 3-band EQ and High Pass filter
- Signal presence LED illuminates green from a level of -25dB and red from a level of +24dB
- Switch for EQ In/Out function, with LED indication
- Electronically balanced circuits used in line input and line output stages for standalone module use
- Audio processing insert design allows the audio to/from the 1073LBEQ module to be inserted into the audio path of an existing 1073LB module (modules must be fitted in the same 500-series rack)
- Fully screened module, packaged in Mu-metal case helps eliminate stray electromagnetic fields from 500-series rack PSU or other module types
AMS Neve 1073LBEQ 500-Series Module-Under the Hood
Launched in 1970, the original Neve 1073 module is perhaps the world's most famous and desirable microphone preamp and EQ for recording vocals and instruments of all types. Originally designed for the 80-series consoles along with the 1066, 1081, and 1084, the 1073 stood out from the pack due to its particular EQ curves. While all of the 10-series console modules shared the same preamp for sonic consistency across the console, each had a different set of equalizer curves* to provide the mixer or producer with sonic options. The 1073 made EQing snare and bringing out the air in vocals easy as a simple twist of a knob.
*PAD For the Record: The Neve 1073 emerged from the 10-series console modules as the first choice for tracking and mixing, mostly due to its equalizer. Each module in the 10 series shared the same input stage, but each had a different equalizer section, and as such, found their way into specific uses. For example, the 1066 has a different low-frequency curve, which made it a favorite for bass and a favorite of Pete Townshend for recording heavy guitars. The 1081 offered a four-band EQ with additional high-frequency options and has been heard on records by The Red Hot Chili Peppers, Beyonce, Pat Metheny, and Peter Wolf. And then we come to the 1073, which had a high shelf at 12kHz that brought out the air in vocals and the sizzle in snares. In fact, A-list mixer Andrew Scheps after years of equalizing snares will tell you that to get the snap, sizzle, and body of a snare that we all love is easily had with a 1073 boosted at 220Hz, 7.2kHz, and 12kHz to taste.
A True Neve 1073 Signal Path for 500-Series Users
Crafted in England by Neve engineers, the 1073LBEQ Mono EQ module retains the unique sonic characteristics of the original Neve 1073 classic EQ by using the same EQ circuit architecture and matching components. And it delivers it in a modern and portable form-factor that professional producers and engineers demand. With new features, such as a signal presence LED and Neve's clever Audio Processing Insert design, the 1073LBEQ takes your 500-series rack to the next level.
Simply install into an empty slot in your compatible 500-series rack, connect your line level signals and inject the legendary Neve EQ sound into your audio creations. And it's the perfect pairing for the incredible Neve 1073LB microphone preamp module. The 1073LBEQ module can be inserted between the input and output stages of the 1073LB module, creating a true Neve 1073 classic audio path.
VPR-Alliance Compliant
The 500 series, which has taken the industry by storm, began with API founder Saul Walker and his innovative modular console designs. API founded the VPR Alliance, the industry standard for 500-series modules, to ensure compatibility among all manufacturers off 500-series modules. This AMS Neve module has been specifically designed to operate in an API 500-series power rack such as the API lunchbox® or its equivalent.
PAD Tech Note: When selecting modules for a 500-series power rack, it's important to check with the manufacturer (or your PAD Studio Specialist) for compatibility. In certain cases, the difference of a few millimeters in front-panel thickness can prevent the unit from seating properly and making the connection. Additionally, and this is not widely advertised, the current requirements of the 500 module can throw a “monkey into the wrench,” so to speak. For example, in order to make a unit, such as a 500-series tube preamp, function as you would expect the rack module, the module is designed without regard to the 500-series lunchbox' limitation. Specifically, the current requirement of the unit may take up all the available current in the power rack, making it incapable of powering additional 500-series modules, or even the unit itself. But worry not young Padawan, the force is strong with your PAD Studio Specialist who can guide you in the ways of the light side (and you don't have to travel to Dagobah and carry him on your back in the swamp).
The 1073LBEQ and 1073LB give you a true Neve 1073 signal path for your 500 power rack-need we say more? No? Then order yours today. For more information, call or chat online with your PAD Jedi Studio Master.
Frequency Curves
HF Cut and Boost (top control, inner knob)
- +/-16dB of smooth shelving with a fixed frequency of 12kHz
High-Pass Filter (top, outer blue dial)
- 18dB per octave slope with a selectable threshold of 50Hz, 80Hz, 160Hz or 300Hz (This control is a different color than the other outer controls to indicate it bears no direct relationship to its center control)
Mid Frequency Cut and Boost (middle, inner knob)
- +/-18dB of smooth control with a fixed Q and selectable center
Mid Frequency Selector (middle, outer dial)
- Select from 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz or 7.2kHz
Low Frequency Cut and Boost (bottom, inner knob)
+/-16dB of smooth shelving control with a fixed Q and selectable center
Low Frequency Selector (bottom, outer dial)
- Select from 35Hz, 60Hz, 110Hz or 220Hz
EQ In/Out
- The adjacent LED will light green when the EQ button is pressed and in
circuit, and unlit when deselected and bypassed
Signal LED
A three-state led gives an indication of the outgoing signal level:
- Off below -26dB
- Lights green between -25dB and +23dB
- Lights red at +24dB or higher
Specifications
Audio
- High Frequency: Smooth +/-16dB of fixed frequency shelving at 12kHz
- Mid Frequency: Smooth +/-18dB of peaking, fixed Q, selectable center 0.36kHz / 0.7kHz / 1.6kHz / 3.2kHz / 4.8kHz / 7.2kHz
- Low Frequency: Smooth +/-16dB shelving 35Hz / 60Hz / 110Hz / 220Hz
- High-pass filter: 50Hz / 80Hz / 160Hz / 300Hz; 18dB per octave slope
- EQ button: Switches the equalizer in/out of circuit
- Signal LED: Off below -26dB; green between -25dB and +23dB; red at +24dB or higher
Physical
- Height: 5-1/4" / 132 mm
- Width: 1-1/2" / 38 mm
- Depth: 5-3/4" / 145 mm
- Weight: 1-1/4 lb. / 0.6 kg
AMS Neve 1073N
Regular price $2,345.00 Save $-2,345.00The AMS Neve 1073N retains the modular design and retrofit capabilities of the 1073 and adds standalone functionality with DI input, I/O connectors for mics and other equipment, phantom power, and power supply.
The AMS Neve 1073N preamp/EQ is built to the exact specifications and sonics of the original, and like the modular 1073, it can retrofit into an 80-series console or AMS Neve power rack. However, it has the unique ability to function in standalone, thanks to integrated I/O, DI, phantom power, and power supply. The 1073N gives you the unique ability to not only have the signature sound of the 1073, but also enables you to start with a preamp and add the vintage 80-series Neve console to it later-kind of like buying a bell and waiting until you can afford the bicycle to go under it. Considered by numerous engineers and producers to typify the sound of Neve for all time, the 1073N mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and captures a more precise image*.
AMS Neve 1073N-Just the Facts
- Classic transformer microphone preamp amp (Class A design) with integral DI input and phantom power
- Exclusive Neve Marinair™ transformers used on input and output stages
- 3 EQ bands and high-pass filter
- Can be used as a standalone module or inserted into a compatible rack or console
- Mic & Line inputs are transformer balanced and earth free
- Microphone Input: Gain +80db to +20dB in 5dB steps
- Designed and built in England
* PAD Tech Note: Much of the superior performance of the 1073 is attributed to its wide-bandwidth specification, which made it the first preamp with a linear frequency response well beyond human hearing. In conceiving of the 1073 preamp, Rupert Neve reasoned that if harmonics beyond human hearing exist in nature they shouldn't be ignored in audio capture, as they traditionally were in designs band-limited to 20kHz. His favorite demonstration of his hypothesis is using a tone generator to produce a sine wave at 12kHz, which anyone can hear, and switches it to a square wave, which produces a timbral difference audible to all. The only difference between the two waves is that a square wave adds a single octave harmonic at 24kHz, which is beyond our ability to hear on its own.
AMS Neve 1073N-Under the Hood
The Class-A design 1073N microphone preamplifier features 3 bands of EQ with one fixed high-frequency band, two switchable bands with cut and boost, and a high pass filter. All Neve channel amplifiers are designed to accept signals from a wide range of microphone and line sources.
Along with its wide bandwidth design, the components that most define the signature sound of the 1073 are the Neve-designed custom transformers built by Marinair. According to Mr. Neve, “Transformers provide superior galvanic isolation while adding musical harmonics and dimension to the sound. The low-impedance, transformer-balanced output excels at driving long cable runs, and performance is immensely consistent regardless of the connected equipment.”
Incidentally, transformers are more responsible for the warm sound attributed to tubes than tubes themselves actually are.
Front-panel controls and EQ
- High Frequency: Smooth +/-16dB fixed frequency shelving at 12kHz
- Mid Frequency: Smooth +/-18dB peaking, fixed 'Q' with selectable center frequencies of 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz, and 7.2kHz
- Low Frequency: Smooth +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz, and 220Hz
- High-Pass Filter: 18dB per octave slope, switchable between 50Hz, 80Hz, 160Hz, and 300Hz
- EQL Button: Switches the equalizer in or out of circuit
- Phase Button: Yields 180° phase change at balanced output
You can start with an AMS Neve 1073N in standalone and then build a rack, or use it to populate a vintage 80-series console. However you choose to go, you get classic Neve sound. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
- Microphone Input: Input Impedance 300W or 1200W, gain +80dB to +20dB in 5dB steps
- Line Input: Input Impedance 10kW bridging, gain +20dB to -10dB in 5dB steps. Both inputs are transformer balanced and earth free
- DI Input: Input Impedance 1MW (Pad off); 10kW (Pad on), gain +80dB to +20dB in 5dB steps
- Output: Maximum output is >+26dBu into 600W. Output impedance is 75W @1kHz. Output is transformer balanced and earth free
- Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) into 600W
- Frequency Response: +/-0.5dB 20Hz to 20kHz, -3dB at 40kHz EQ Out.
- Noise: Not more than -83dBu at all line gain settings EQ In flat/out (22Hz to 22kHz bandwidth), EIN better than -125dBu @ 60dB gain
Physical
- Width: 8-3/4" (222 mm)
- Height: 1-7/8" (45)
- Depth: 10" (254 mm)
- Weight: 5.5 lb. (2.5 kg)
AMS Neve 1073OPX 8 Channel Mic Pre
Regular price $3,995.00 Save $-3,995.00
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![AMS Neve 1073OPX Digital I/O Option (USB/Dante)](http://opticecho.myshopify.com/cdn/shop/files/AMSNeve1073OPXDigitalIOOption_{width}x.jpg?v=1717753494)
AMS Neve 1073OPX Digital I/O Option (USB/Dante)
Regular price $995.00 Save $-995.00AMS Neve 1073OPX Octal Mic Preamp Unit & ADAT/USB Digital Option Card Bundle
Regular price $4,395.00 Save $-4,395.00AMS Neve 1073OPX Octal Mic Preamp Unit & ADAT/USB Digital Option Card Bundle
This product will be available to ship by late April 2023.
1073OPX
Where Legend Meets Future.
Packing eight 1073® remote-controllable preamps in a 2U rackmount case, the 1073OPX suits modern DAW-based workflows, where space is at a premium, whilst also offering that 1073 sound everyone knows and loves. It’s the Swiss Army knife for modern studios.
AMS Neve 1073OPX 8 Channel Mic Pre Key features:
- 8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.
- Exclusive Neve® Marinair® transformers on both the Line and Microphone input.
- Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)
- Automatic Total Recall™ of all settings.
- Front Transformer-coupled Mic/Line combi input
- Rear Transformer-coupled Mic/Line D-Type connection
- 80Hz High pass filter
- -25dB pad
- Phase flip
- Smart Phantom Power control
- Hi/Lo Impedance selector from 300Ω to 1.3KΩ
- Separate stereo monitor path with Independent level control
AMS Neve 1073OPX USB/ADAT Card
The new 1073OPX USB/ADAT card introduces two new modes of operation that will take your recording and mixing experience to the next level.
The first mode is the USB/ADAT Hub mode, which enables you to transform your 1073OPX into an expandable USB audio interface. USB/ADAT Hub mode provides up to 16 inputs and 10 outputs via a single USB connection, making it easier to integrate analogue gear into your digital workflow. This feature is especially useful for those who need to mix and record with multiple sources simultaneously, providing a comprehensive and streamlined USB solution.
The second mode is the ADAT standalone mode, which allows you to expand an existing ADAT-compatible audio interface digitally via ADAT optical connection. When using ADAT standalone mode, you can add eight Neve 1073 preamps and an additional stereo output to your existing audio interface, providing a significant upgrade to your recording setup. This mode is perfect for those who already have an ADAT-equipped audio interface and want to enhance its capabilities with legendary Neve sound.
The USB/ADAT card provides seamless integration with your digital audio workstation, allowing you to record and playback high-quality, 24-bit, digital audio up to 192kHz sample rates in USB/ADAT Hub mode, and sample rates up to 96kHz in ADAT standalone mode via S/MUX protocol.
Overall, the new ADAT card for the 1073OPX is a must-have for audio professionals who are looking for a reliable and versatile audio interface that can handle all their recording and mixing needs. With its advanced features, including USB/ADAT Hub mode and ADAT standalone mode, this card provides an unparalleled audio production experience that is sure to impress.
Two, new modes of operation:
- USB/ADAT Hub mode - Transforms the 1073OPX into an expandable USB Audio Interface, capable of connecting up to 16 inputs and 10 outputs through a single USB connection.
- ADAT standalone mode - Allows users to expand an existing ADAT-compatible audio interface digitally via ADAT optical connection, adding eight Neve 1073 preamps and an additional stereo output to their existing audio interface.
We are confident that the 1073OPX USB/ADAT Card will quickly become a favourite among your customers. The 1073OPX USB/ADAT card is available as a standalone digital card, providing an excellent opportunity to re-engage with previous customers who have purchased the 1073OPX unit to offer them the chance to unlock extra features.
AMS Neve 1073OPX USB/ADAT Card
Regular price $795.00 Save $-795.00The new 1073OPX USB/ADAT card introduces two new modes of operation that will take your recording and mixing experience to the next level.
The first mode is the USB/ADAT Hub mode, which enables you to transform your 1073OPX into an expandable USB audio interface. USB/ADAT Hub mode provides up to 16 inputs and 10 outputs via a single USB connection, making it easier to integrate analogue gear into your digital workflow. This feature is especially useful for those who need to mix and record with multiple sources simultaneously, providing a comprehensive and streamlined USB solution.
The second mode is the ADAT standalone mode, which allows you to expand an existing ADAT-compatible audio interface digitally via ADAT optical connection. When using ADAT standalone mode, you can add eight Neve 1073 preamps and an additional stereo output to your existing audio interface, providing a significant upgrade to your recording setup. This mode is perfect for those who already have an ADAT-equipped audio interface and want to enhance its capabilities with legendary Neve sound.
The USB/ADAT card provides seamless integration with your digital audio workstation, allowing you to record and playback high-quality, 24-bit, digital audio up to 192kHz sample rates in USB/ADAT Hub mode, and sample rates up to 96kHz in ADAT standalone mode via S/MUX protocol.
Overall, the new ADAT card for the 1073OPX is a must-have for audio professionals who are looking for a reliable and versatile audio interface that can handle all their recording and mixing needs. With its advanced features, including USB/ADAT Hub mode and ADAT standalone mode, this card provides an unparalleled audio production experience that is sure to impress.
Two, new modes of operation:
- USB/ADAT Hub mode - Transforms the 1073OPX into an expandable USB Audio Interface, capable of connecting up to 16 inputs and 10 outputs through a single USB connection.
- ADAT standalone mode - Allows users to expand an existing ADAT-compatible audio interface digitally via ADAT optical connection, adding eight Neve 1073 preamps and an additional stereo output to their existing audio interface.
We are confident that the 1073OPX USB/ADAT Card will quickly become a favourite among your customers. The 1073OPX USB/ADAT card is available as a standalone digital card, providing an excellent opportunity to re-engage with previous customers who have purchased the 1073OPX unit to offer them the chance to unlock extra features.
AMS Neve 1073SPX-D - The World’s First Genuine 1073® Interface
Regular price $2,995.00 Save $-2,995.00The 1073SPX-D merges the renowned 1073® preamp with a robust digital audio interface, featuring USB and ADAT connectivity.
Digital Innovation
The 1073SPX-D seamlessly integrates a complete 1073 channel strip with a robust digital audio interface. USB and ADAT digital connections transform the 1073SPX-D into a versatile one-stop solution for recording, mixing, and monitoring in any studio, live sound or mobile recording setup.
9x12 Audio Interface
The 1073SPX-D features nine inputs (1x analogue/8x ADAT) and 12 outputs (4x analogue/8x ADAT). These expandable I/O capabilities allow the 1073SPX-D to become the main focal point of your studio, with all of your studio tools connecting to your DAW through the 1073SPX-D.
Class-Compliant USB
The 1073SPX-D’s innovative USB digital interface uses class-compliant drivers, offering a simple ‘plug & play’ setup for studio integration or on-the-road recording. By connecting the 1073SPX-D directly to your PC or Mac via USB, you can access all of the unit’s analogue features directly from the DAW of your choice.
ADAT Expansion Options
The 1073SPX-D features ADAT input and output ports that can function in two distinct modes. In USB/ADAT hub mode, additional units (such as the 1073OPX or a second 1073SPX-D), can connect together via ADAT, increasing the unit’s recording, mixing, and monitoring capability. In ADAT Audio Expander mode, the 1073SPX-D can function as a standalone ADAT expander connected to your existing audio interface, integrating a complete 1073 channel strip into your current system with ease.
Digital Hardware Insert
The 1073SPX-D’s digital option allows the unit to be applied as a hardware insert into your computer. Any track in your DAW can now be routed through the 1073SPX-D’s analogue circuitry, including Marinair transformers, Inductor EQ, and more, and returned to your DAW via USB or ADAT.
New Monitoring Options
The 1073SPX-D monitoring controls and connections allow studio loudspeakers and headphones to be directly connected to the unit, with attenuation and loudspeaker cut for total control over your monitoring setup. Two stereo DAW sources can be monitored, and a unique blend control allows for latency-free monitoring of the 1073SPX-D recording signals along with the stereo DAW tracks.
Class-A Discrete Design
The 1073SPX-D retains the discrete, class-A topology & exclusive Marinair transformers (input and output stages), to produce that classic 1073 sound. The 1073SPX-D uses a combination of modern production techniques, including our unique, in-house SMT, with the discrete audio path constructed using through-hole methods, including hand-mounting of the Marinair transformers and class-A transistor-based amplifiers.
1073® Gain Staging
The classic 5dB stepped Elma switch delivers accurate gain levels throughout the gain range, and this unique layout means there is no need for a mic/line switch, the pot itself selects the preamp and input. Three distinct gain stages provided by two independent transistor-based preamplifiers provide gain for any DI, line input or microphone signal.
Inductor-Based EQ
The three-band inductor based EQ is designed for musicality. Rupert Neve and his team of Engineers carefully selected each frequency point to enhance sound quality across the frequency spectrum. The custom hand-wound inductors are made in the UK and are exclusive to Neve, often exceeding our tight 1073 specification.
Flexible Analogue I/O
The 1073SPX-D includes a host of analogue I/O to accommodate all potential workflows. Switchable front and rear connections allow for total studio integration and quick-access recording. A balanced insert send and return loop with a flexible insertion point enables analogue expansion with additional hardware units such as compressors and a rotary output fader with a -inf to +5dB range gives total control over the unit’s output signal via its XLR output connection.
General Specification
- Genuine 1073 transformer-coupled microphone preamplifier / EQ circuit, in a single 1U 19″ rack-mount enclosure
- 2x Balanced Analogue Monitor XLR Line Outputs
- 1x Balanced TRS Headphone Output
- 8x ADAT Digital Inputs & 8x ADAT Digital Outputs via TOSLINK Connection
- Exclusive Neve Marinair transformers used on input and output stages
- USB 2.0 B -Type port for direct connection to Mac or PC
- Class Compliant – Core Audio/ASIO
- Front & rear Mic & Line inputs and front DI input
- Switchable +48v Phantom Power, Hi/Lo impedance, -20dB pad and DI ground lift
- Switchable Phase and EQ in/out
- Pre/Post-EQ insert send/return loop
- 7-stage LED signal level meter – mic/line/DI input-stage level, EQ-stage level or output-stage level up to +24dB
- Output level control -inf>+5dB range
- External multi-voltage PSU with locking 5-pin XLR Connection
- Power – +/116Vdc 2A 230V 20mm & 48Vdc, 250mA 230Vm 20mm
Preamp Specification
- Microphone Input: Gain +80db to +20dB in 5dB steps.
- Line Input: Input impedance 10kΩ, gain +20dB to -10dB in 5dB steps
- DI Input: Input impedance 2M Ohms (PAD off) / 200K Ohms (PAD on) Gain +80dB to +20dB in 5dB steps
EQ Specification
- High Frequency: Smooth +/-16dB fixed frequency shelving at 12kHz
- Low Frequency: Smooth +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220Hz
- Mid Frequency: Smooth +/-18dB peaking, fixed ‘Q’ with selectable centre frequencies of 0.36kHz, 0.7kHz 1.6kHz, 3.2kHz, 4.8kHz & 7.2kHz
- High Pass Filter: 18dB per octave slope, switchable between 50Hz, 80Hz, 160Hz & 300Hz
Audio Performance
- Output: Maximum output is >+26dBu into 600Ω, transformer balanced and earth free. – Output Impedance 75Ω @1kHz
- Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) into 600Ω.
- Freq Response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz. EQ Out.
- Noise: -82dBu at all line gain settings (22Hz to 22kHz bandwidth)
- EIN: Better than -125dBu @ 60dB gain.
Monitor Output Specification
- Maximum output level : +20dBu
Headphone Output Specification: (600 Ohm load)
- Maximum output level : +20dBu
- Frequency Response: 20-20kHz +/- 0.5dB
- Distortion (THD +N): <0.005%
- Noise floor: -90dBu
A/D Specification
- Maximum input level : >+26dBu
- Dynamic Range: 119dB
- Noise (THD +N): <100dBFS
- Distortion: <0.002%
D/A Specification
- Maximum Output level: +26dBu
- Dynamic Range: 117dB
- Noise (THD +N): <91.5dBu
- Distortion: <0.001%
Dimensions
- Width: 480mm (19 inches)
- Height: 44mm (1.75 inches)
- Depth: 360mm (14.7 inches)
- Approx. Weight: 5.475kg (12.07 pounds)
AMS Neve 1081 Classic Microphone Preamp and EQ Module (Mono)
Regular price $4,650.00 Save $-4,650.00The AMS Neve 1081 is a classic mono preamp/EQ originally built for the Neve 80-series consoles and still made today by hand in Burnley, UK, using the original components, hand-wound transformers, and refined construction methods.
The AMS Neve 1081 is a member of the original 10-series preamp/equalizers whose siblings include the venerable 1073, 1084, and 1066. All of the preamps in the series share precisely the same input and output sections, with the only difference being the equalizer sections in order to offer more tonal options. The difference between the 1081 and the 1073, is the addition of high- and low-pass filters with five center frequency options. While the high-frequency band of the 1073 is a shelving EQ with a center frequency of 12kHz (one of the reasons it's so popular), the 1081 offers five center frequencies with selectable shelving or peak curve. A truly classic component in a recording front-end or mixing environment, often seen in the credits on today's platinum-selling albums, the 1081 provides remarkable sensitivity, fast and musical response to transients, plus inimitable Neve equalization.
AMS Neve 1081-Just the Facts
- Legendary Neve microphone preamp and equalizer design (Class AB)
- Exclusive Neve Marinair™ transformers used on input and output stages
- 5 switchable EQ bands
- HP and LP selectable filters (18dB per octave)
- Separate 48V phantom power supply
- Solo button selects channel unbalanced output
- Hand-built and wired precisely to original 1972 specifications
- Both inputs transformer-balanced and earth free
AMS Neve 1081-Under the Hood
An indispensable tool for recording and mixing drums, bass, and percussion, the 1081 features 80dB of gain, more than enough for microphones of all sensitivity ratings. As with all Neve outboard gear, you're assured of the highest quality signal capture, thanks to uncompromising Class AB circuitry, hand-wound Neve-designed transformers, and unrivaled attention to every last component and construction detail.
The 1081 equalizer
The 1081 equalizer features high- and low-pass filters designed to separate unwanted signal outside the pass-band. This gives you a flexible tool with which to shape new sounds and control any part of the audio spectrum. The curves and slopes have been carefully tailored to enable you to exercise maximum technical and artistic skill.
1081 front-panel EQ controls
- H.F. Controls: 5 switched frequencies, shelving or peaking curve, continuously variable 18dB cut or boost
- H.F. Presence: 10 switched frequencies with continuously variable 18dB cut or boost, high or low Q selection
- L.F. Presence: 10 switched frequencies with continuously variable 18dB cut or boost, high or low Q selection
- L.F. Controls: 5 switched frequencies, shelving or peaking curve, continuously variable 18dB cut or boost
- H.P. Filter: 5 switched frequencies with a slope of 18dB per octave
- L.P. Filter: 5 switched frequencies with a slope of 18dB per octave
Custom Marinair transformers
Mr. Neve is a great proponent of transformer-balanced designs. Transformers excel at passive isolation, eliminate noise and hum and aren't prone to turning into radio receivers as transformerless designs can be. They also provide the advantage of long cable runs with no, or minimal signal degradation, which is essential for large multi-room facilities or live performance.
PAD For the Record-When tubes fell out of favor and transistors became all the rage, designers of pro audio gear had a problem. Transistors didn't saturate like tubes, which distort naturally as gain is increased. Transistors, on the other hand, much like digital circuits, perform consistently as gain is increased, but once the threshold is crossed, they clip, producing rather harsh distortion. When faced with this dilemma, Mr. Rupert Neve realized that his task was to take the components we had (i.e. transistors) and find a way to make them sound musical. In so doing, it was discovered that the rich euphonic sound of tube preamps was actually more attributable to transformers than tubes. The Neve preamps prove that solid-state, transformer-based designs are just as capable of a rich, creamy sound as tube designs, hence the reference in the industry to custom-designed preamps by Neve and other manufacturers as “the big iron sound of the '70s.”
The AMS Neve 1081 gives you the same preamp as the venerable 1073 with far more EQ options and can be fit into Neve power racks or retrofit into classic 80-series consoles. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
- Microphone Input: Z-in 300 or 1200 ohms switched, gain +80 to +10 dB in 5dB steps
- Line Input: Z-in 10k ohms bridging, gain +20 to -15dB in 5dB steps. Both inputs are balanced and earth-free
- Outputs: Max +26dB into 600 ohms. Z-out 75 ohms ±5% @ 1kHz, balanced and earth-free. An unbalanced output 8dB below the level of the balanced output is also provided
- Distortion: Not more than 0.07% for +20dBm output from 50Hz to 15kHz
- Frequency Response: ±0.5dB from 20Hz to 20kHz. -3dB at 7Hz and 35kHz
- Noise: Output noise better than -42dBm from Z-in 1200 ohms and -80dB input, giving an equivalent noise of -125dBm referred to 600 ohms input impedance fed from 100 ohms. Output noise better than - 80dBm at all line input levels
![AMS Neve 1081 Horizontal 2-Module Rack (Empty)](http://opticecho.myshopify.com/cdn/shop/files/1081_3u_rack_{width}x.jpg?v=1717761651)
AMS Neve 1081 Horizontal 2-Module Rack (Empty)
Regular price $4,650.00 Save $-4,650.00The AMS Neve 1081 Horizontal Rack is a 2-module, 3U empty power rack for the AMS Neve 1073, 1081, 1084, and 2264A modules, with phantom power, output level controls, and IEC mains connector.
If you don't have a classic Neve 80-series console that needs to be retrofit with 1073, 1081, 1084, or 2264A modules, you're going to need a place to put them and power them up. That's where the AMS Neve 1081 3U 2-channel power rack comes in. For decades, it's been a common practice to pirate vintage Neve desks for their 1073 preamps and rack them for outboard use in modern studios. Of course for the modules to be functional, you needed someone who knew their way around a soldering iron to build racks with power and I/O for integration into a studio. Since we're running out of Neve desks to pillage, AMS Neve, due to unceasing demand, builds exacting replicas of these classic preamps (and 2264A compressor) to function just like the vintage models, as well as robust and reliable power racks to house them. The 3U rack houses two modules mounted horizontally in a 19" rack-mounting unit. The rear panel has XLR connectors for transformer-balanced I/O, a 25-way “D-type” connector for spare switch contacts and unbalanced outputs, plus an IEC connector for mains power.
AMS Neve 1081 3U Rack-Just the Facts
- 3U power rack for two AMS Neve modular preamps or 2264A compressor
- Front-panel +24/-48V phantom power switches
- Front-panel output level controls
- XLR outputs
- DB-25 connector for spare switches or unbalanced output
- IEC mains power connector
-
Boat-anchor build quality
AMS Neve 1081 3U Rack-Under the Hood
The mains fuse is located in the IEC mains input connector on the rear of the 3U and 7U rack units. Secondary protection fuses for the 24V and 48V supplies are located behind the front panel on the power supply filter PCB SZN825-058 in both 3U and 7U rack units. The red LED on the front panel of both 3U and 7U rack units indicates +24V power healthy when illuminated. The green LED on the front panel of both 3U and 7U rack units indicates +48V power healthy when illuminated.
Phantom Power
Phantom power can be supplied to each module by pressing the phantom power switch on the front panel of the 3U or 7U rack. The LED in the switch will illuminate confirming that phantom power is supplied.
Output Level Control
Each channel has an independent Output Level Control. The control is post-input, post-EQ and pre-output. This control allows the input and EQ to operate at a higher level and then for the signal to be returned to a normal operating level at the output. When the Output Control is fully clockwise the output gain is unity. The output is 10dB down with the control in the mid-position.
If you're ready for a two-channel Neve 1073/1081/1084 front end, or a stereo pair of 2264A compressors, you'll need a convenient way to rack, power up, and connect them to your studio. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
- Power Requirements:
- Rated voltage: 100-230V AC
- Rated frequency: 50-60 Hz
- Rated current: 0.5A Max
- Surge current (In Rush) Cold: 31.0A
- Surge current (In Rush) Hot: 33.0A
- Earth leakage current: Approx. 1.2mA
- Warning for high earth leakage current required: No
Primary protection fuse:
- Operating voltage: 100-230V AC
- Fuse rating and type: T1.6A H 250V; 20mm x 5mm Ceramic
- Location: IEC Mains connector
Secondary Protection Fuse:
- Output voltage: 24V DC
- Fuse rating and type: T 1.0A L 250V 20mm x 5mm Glass
- Location: F1 on SZN825-058
- Output voltage: 48V DC
- Fuse rating and type: T 500mA L 250V 20mm x 5mm Glass
- Location: F2 on SZN825-058
Physical:
- Height: 5-1/4" (134 mm)
- Width: 19" (483 mm)
- Depth: 15-3/4" (400 mm)
- Weight: 37 lb. (17 kg) (fully loaded)
AMS Neve 1081 Rack & PSU (Empty)
Regular price $3,145.00 Save $-3,145.00Designed in 1972, the 1081 was originally conceived as a combined mic/line preamp and equaliser section for the Neve® modular consoles. It quickly became one of the best-loved mic preamps of all time. In practice, over three decades of engineers have found the 1081 an indispensable tool for recording and mixing drums, bass and percussion.
Horizontal or Vertical Orientation
The 1081 comes in two orientations, vertical and horizontal. Vertical orientation modules can be installed into a console or an 8-module rack. Additionally, horizontal modules can be installed into the 3U stereo pair rack.
![AMS Neve 1081 Vertical 8-Module 7U Rack (Empty)](http://opticecho.myshopify.com/cdn/shop/files/1081_7u_rack_{width}x.jpg?v=1717761651)
AMS Neve 1081 Vertical 8-Module 7U Rack (Empty)
Regular price $4,650.00 Save $-4,650.00The AMS Neve 1081 Vertical Rack is an 8-channel, 7U empty power rack for the AMS Neve 1073, 1081, 1084, and 2264A modules, with phantom power, output level controls, and IEC mains connector.
If you don't have a classic Neve 80-series console that needs to be retrofit with 1073, 1081, 1084, or 2264A modules, you're going to need a place to put them and power them up. That's where the AMS Neve 1081 7U 8-channel power rack comes in. For decades, it's been a common practice to pirate vintage Neve desks for their 1073 preamps and rack them for outboard use in modern studios. Of course for the modules to be functional, you needed someone who knew their way around a soldering iron to build racks with power and I/O for studio integration. Since we're running out of Neve desks to pillage, AMS Neve, due to unceasing demand, builds exacting replicas of these classic preamps (and 2264A compressor) to function just like the vintage models, as well as robust and reliable power racks to house them. The 7U rack houses up to eight modules mounted vertically in a 19" rack-mounting unit. The rear panel has XLR connectors for transformer-balanced I/O, 25-way “D-type” connectors for spare switch contacts and unbalanced outputs, plus an IEC connector for mains power.
AMS Neve 1081 7U Rack-Just the Facts
- 7U power rack for up to eight AMS Neve modular preamps or 2264A compressor
- Front-panel +24/-48V phantom power switches
- Front-panel output level controls
- XLR outputs
- DB-25 connector for spare switches or unbalanced output
- IEC mains power connector
- Boat-anchor build quality
AMS Neve 7U Rack-Under the Hood
The mains fuse is located in the IEC mains input connector on the rear of the 3U and 7U rack units. Secondary protection fuses for the 24V and 48V supplies are located behind the front panel on the power supply filter PCB SZN825-058 in both 3U and 7U rack units. The red LED on the front panel of both 3U and 7U rack units indicates +24V power healthy when illuminated. The green LED on the front panel of both 3U and 7U rack units indicates +48V power healthy when illuminated.
Phantom Power
Phantom power can be supplied to each module by pressing the phantom power switch on the front panel of the 3U or 7U rack. The LED in the switch will illuminate confirming that phantom power is supplied.
Output Level Control
Each channel has an independent Output Level Control. The control is post-input, post-EQ and pre-output. This control allows the input and EQ to operate at a higher level and then for the signal to be returned to a normal operating level at the output. When the Output Control is fully clockwise the output gain is unity. The output is 10dB down with the control in the mid-position.
If you're ready for an eight-channel Neve system, or want to work your way up to it, you'll need a convenient way to rack, power up, and connect them to your studio. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
Power Requirements:
- Rated voltage: 100-230V AC
- Rated frequency: 50-60 Hz
- Rated current: 0.8A Max
- Surge current (In Rush) Cold: 31.0A
- Surge current (In Rush) Hot: 33.0A
- Earth leakage current: Approx. 1.3mA
- Warning for high earth leakage current required: No
Primary protection fuse:
- Operating voltage: 100-230V AC
- Fuse rating and type: T1.6A H 250V; 20mm x 5mm Ceramic
- Location: IEC Mains connector
Secondary Protection Fuse:
- Output voltage: 24V DC
- Fuse rating and type: T 1.0A L 250V 20mm x 5mm Glass
- Location: F1 on SZN825A058
- Output voltage: 48V DC
- Fuse rating and type: T 500mA L 250V 20mm x 5mm Glass
- Location: F2 on SZN825A058
Physical:
- Height: 12-1/4" (311 mm)
- Width: 19" (483 mm)
- Depth: 15-3/4" (400 mm)
- Weight: 101 lb. (46 kg) (fully populated)
![AMS Neve 1081R Air module (Blue Knob)](http://opticecho.myshopify.com/cdn/shop/files/AMS_Neve_1081R_Air_{width}x.jpg?v=1717757220)
AMS Neve 1081R Air module (Blue Knob)
Regular price $1,495.00 Save $-1,495.00The Neve 1081R Classic Mono Mic Module is a remote controlled mic preamp for use in the Neve 1081R rack.
The Neve 1081R rack is the ideal solution for engineers seeking multiple channels of Neve sound quality without investing in a new console. This system consists of a microprocessor-controlled 12-slot rack and a choice of two superb mic preamps, the Neve 1081 and Air Montserrat (from the vintage Air Montserrat console).
The 1081R Air (blue knob) is the optimum choice for ambient recording.
The 1081R rack is required to house 1081R modules (red knob or blue knob)
The rack can be positioned remotely and controlled via an Encore system on a Neve console or a standalone PC, making it the perfect choice for studio or live recording applications. (Connections come courtesy of a 9-pin serial control cable via RS232 to RS485 converter.) Operational settings such as gain, phase and 20dB pad can be controlled either from the rack or via the interface screen, and stored for later recall.
![AMS Neve 1081R module (Red Knob)](http://opticecho.myshopify.com/cdn/shop/files/AMS_Neve_1081R_{width}x.jpg?v=1717757208)
AMS Neve 1081R module (Red Knob)
Regular price $1,495.00 Save $-1,495.00The Neve 1081R Classic Mono Mic Module is a remote controlled mic preamp for use in the Neve 1081R rack.
The 1081R is the ideal solution for engineers seeking multiple channels of Neve sound quality without investing in a new console. This system consists of a microprocessor-controlled 12-slot rack and a choice of two superb mic preamps, the Neve 1081 and Air Montserrat (from the vintage Air Montserrat console).
The 1081R (red knob) offers the perfect response for close miking of vocals, acoustic instruments, and percussion.
The 1081R rack is required to house 1081R modules (red knob or blue knob)
The rack can be positioned remotely and controlled via an Encore system on a Neve console or a standalone PC, making it the perfect choice for studio or live recording applications. (Connections come courtesy of a 9-pin serial control cable via RS232 to RS485 converter.) Operational settings such as gain, phase and 20dB pad can be controlled either from the rack or via the interface screen, and stored for later recall.
![AMS Neve 1081R Remote Microphone Preamplifier Rack (12-Slot Empty)](http://opticecho.myshopify.com/cdn/shop/files/1081R_rack_empty_high_{width}x.jpg?v=1717760201)
AMS Neve 1081R Remote Microphone Preamplifier Rack (12-Slot Empty)
Regular price $4,495.00 Save $-4,495.00The AMS Neve 1081R is a microprocessor-controlled 12-slot rack with a choice of two mic preamps, the Neve 1081 and Air Montserrat (from the vintage Air Montserrat console).
Working closely with the late Sir George Martin, Mr. Rupert Neve designed three unique consoles that were commissioned for AIR Studios. The first console, A4792, was designed in 1977 and earmarked for AIR's facility on the island of Montserrat. Among the many groundbreaking design features found in these desks were remote controlled preamps. According to Mr. Neve, the optimal signal path for recording is the shortest one between mic and recording. The remote preamps, operated from the desk, enabled the preamps to be very close to the source in the live room. They also bypassed the added junctions and soldering points of a wall-mounted mic box or snake. The 12-slot Neve 1081R rack can be populated with the 1081, Air Montserrat preamps, or any combination of the two to cover a variety of applications; the 1081 for close-miking, and Air Montserrat for distance miking. Positioned remotely, the 1081R can be controlled via an Encore-equipped Neve console, standalone PC, or Pro Tools, with all the signature sonics that the name “Neve” represents.
AMS Neve 1081R-Just the Facts
- 12-space remote-controlled rack featuring a selection of classic 1081 or Air Montserrat
- Modern, convenient way to secure legendary Neve Sound
- Controllable from Neve Console (Encore PC) or standalone PC
- Serial connection to computer
- Recall of all operational settings via software
- Unique hand-wired Neve-designed input transformers
AMS Neve 1081R-Under the Hood
The mic preamp circuitry is very close to the classic 1081 design of the early 1970s using the same transformer, capacitor types, and other components wherever possible. The modules provide transformer-balanced XLR mic inputs to balanced line outputs via a multi-way Varicon connector on the rear of the rack.
The rack can be positioned remotely and controlled via an Encore system on a Neve console or a standalone PC, making it the perfect choice for studio or live recording applications. (Connections come courtesy of a 9-pin serial control cable via RS232 to RS485 converter.) Operational settings such as gain, phase, and 20dB pad can be controlled either from the rack or via the interface screen and stored for later recall.
By selecting their desired combination of mic preamps, engineers have the flexibility to record classical, pop, rock, or any other musical format, and control it all from a Neve Console or standalone PC. In terms of application, the Air Montserrat Pre is the optimum choice for ambient recording, while the 1081 offers the perfect response for close miking of vocals, acoustic instruments, and percussion. The 1081R allows these legendary mic preamps to be used as remote inputs for the 88RS analog console, or provides the perfect companion to our digital consoles.
The microphone amplifiers may be controlled from:
- The front panel of the 1081R rack
- Neve 88R console
- Computer running AMS Neve's Remote Control Software
- Pro Tools*
*The computer and Pro Tools options offer the added benefit of a recall system for the mic amp settings.
The mic preamps in the AMS Neve 1081R Remote Rack represent the very essence of the Neve sound. Chosen by recording engineers and producers the world over, the 1081 and the Air Montserrat have tracked some of the most famous recordings of all time, and are found in a majority of the world's finest studios. For more information, call or chat online with your PAD Studio Specialist.
Specifications
Microphone Module
- Microphone input: XLR inputs, Z-in 1k ohm @ 1kHz Gain +20 to +70 in 5dB steps
- Maximum Input Level (with Pad in): +24dB
- Outputs: Max +26dB into 600 ohms
- Z out 50 ohms +/-5% @ 1kHz, balanced
- Distortion: Not more than 0.07% for 20dBm output from 50Hz to 10kHz@60dB gain
- Microphone EIN: > -123dBm 20Hz to 20kHz @ 60dB gain
- Mechanical: 1-3/8" x 6-7/32" (35mm x 158mm)
Rack Housing Spec (fully fitted)
- Power: <40w, 100-240v auto sensing, 47-63Hz, 2A Anti Surge Fuse (fuse part number 190-047)
- Mechanical: 4U x 19", 260mm deep
- Audio Interface: 12 balanced circuits on a 56-way panel mounted female Varicon
- Control Interface: 2 x 9 Pin D Type 'Male' input and 'Female' output, RS485 format (adapters required for serial RS232 or USB)
AMS Neve 1084 Microphone Preamp and Equalizer
Regular price $4,620.00 Save $-4,620.00The AMS Neve 1084 Microphone Preamp and Equalizer is an exacting reissue of the original modular 1084 console preamp and EQ, with 3-band EQ and selectable shelving or peak EQ curve selection.
The AMS Neve 1084 rivals the 1073 in popularity due to its wide palette of frequency selections. While sharing the identical preamp and output section as the 1073 and other members of the 10-series (1081, 1073, 1066), its EQ section also includes the ability to switch between two different “Q” types, either narrow or wide with respect to the parametric band. The modular design of the 1084 is a nod to the original intent of the 10-series preamps, which was to populate the Neve 80-series consoles of the '70s. All of the preamps in the series share the same input and output sections but feature a differently outfitted equalizer section. The reason for this was to maintain sonic consistency across the console while offering the engineer a palette of tone-shaping options that they could commission for the console. For example, a console could be outfitted with eight channels of 1073s, eight channels of 1084s, and so on, all while maintaining the signature sound of the Neve 10-series.
AMS Neve 1084-Just the Facts:
- Classic Neve transformer mic preamplifier with a wide range of equalizer settings
- Exclusive Neve Marinair™ transformers used on input and output stages
- 3 switchable EQ bands
- HP and LP filters with High Q setting
- EQL button switches the equalizer in or out of the circuit
- Phase Button changes phase 180° at balanced output
- Hand-crafted and tested precisely to original 1970 design
AMS Neve 1084-Under the Hood
Handcrafted and completely hand-wired in by Neve's dedicated professionals in Burnley, UK, the 1084 reissue built to the precise specifications of the original modules. Since AMS Neve prides itself on its innovation throughout the years, it's not adverse to technical improvements. However, not all technological advances actually sound better than the components they appear to improve on. For example, audio transformers, which are the essence of the Neve sound and the reason why boutique manufacturers invest a great deal of R&D on custom transformers. Off-the-shelf or poorly designed transformers can cause ringing or smearing in the top end of the audible spectrum. As such, while other manufacturers use replacements, AMS Neve alone has access to the original hand-wound transformers. This is an important factor when you consider that an analog preamp is only as good as its transformer. That is why only a Neve sounds like a Neve.
All Neve mic preamplifiers are designed to accept signals from a wide range of microphone and line sources. The 1081 features 80dB of gain, more than enough for microphones of all sensitivity ratings. Uncompromisingly low noise and distortion with generous overload performance are noteworthy hallmarks of all Neve products.
Custom Marinair Transformers
Mr. Neve is a great proponent of transformer-balanced designs. Transformers excel at passive isolation, eliminate noise and hum and aren't prone to turning into radio receivers as transformerless designs can be. They also provide the advantage of long cable runs with no, or minimal signal degradation, which is essential for large multi-room facilities or live performance.
PAD For the Record-When tubes fell out of favor and transistors became all the rage, designers of pro audio gear had a problem. Transistors didn't saturate like tubes, which distort naturally as gain is increased. Transistors, on the other hand, much like digital circuits, perform consistently as gain is increased, but once the threshold is crossed, they clip, producing rather harsh distortion. When faced with this dilemma, Mr. Rupert Neve realized that his task was to take the components we had (i.e. transistors) and find a way to make them sound musical. In so doing, it was discovered that the rich euphonic sound of tube preamps was actually more attributable to transformers than tubes. The Neve preamps prove that solid-state, transformer-based designs are just as capable of a rich, creamy sound as tube designs, hence the reference in the industry to custom-designed preamps by Neve and other manufacturers as “the big iron sound of the '70s.”
The 1084 Equalizer Section
- The 1084's three EQ bands provide selectable frequency, with cut and boost capability, and a mid-frequency band which benefits from a High Q Presence switch. The high pass filter can be switched between 45Hz, 70Hz, 160Hz & 360Hz, and the low pass filter between 6kHz, 8kHz, 10kHz, 14kHz, & 18kHz. Both boast 18dB per octave slopes
- High Frequency: Smooth + /-16dB shelving with selectable frequencies of 0kHz, 12kHz, and 16kHz
- Low Frequency: Smooth +/-16dB shelving with selectable frequencies of 35Hz,60Hz, 110Hz & 220Hz
- Mid Frequency: Smooth +/-12dB or +/-18dB peaking with switchable 'High Q', selectable center frequencies of 0.36kHz, 0.7kHz, 1.6kHz, 3.2kHz, 4.8kHz & 7.2kHz
- High Pass Filter: 18dB per octave slope, switchable between 45Hz, 70Hz, 160Hz, and 360Hz
- Low Pass Filter: 18dB per octave slope, switchable between 6kHz, 8kHz, 10kHz,14kHz, and 18kHz
Mounting Options
The 1084 can be purchased as single or multiple units. Each 1084 module has been designed to perfectly retrofit into the 80-Series Neve Classic consoles as part of a channel strip or can be mounted in a custom rack. The available rack sizes are 3U (which accommodates 2 modules horizontally) or 5U (which accommodates 8 modules vertically)
The AMS Neve 1084 gives you the same preamp as the legendary 1073 with more powerful EQ options and can be fit into Neve power racks or retrofit into classic 80-series consoles. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
- Microphone Input: Input impedance 300 ohm or 1,200 ohm; gain +80db to +20dB in 5dB steps
- Line Input: Input impedance 10k ohms, gain +20dB to -10dB in 5dB steps
- Output: Maximum output is >+26dBu into 600 ohm; transformer-balanced and earth-free
- Output impedance: 75 ohm @ 1kHz
- Distortion: Not more than 0.07% from 50Hz to 10kHz at +20dBu output (80kHz bandwidth) into 600 ohm
- Frequency response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz (EQ out)
- Noise: Not more than -83dBu at all line gain settings EQ In/Out (22Hz to 22kHz bandwidth),
- EIN: Better than -125dBu @ 60dB gain
Physical
- Height: 8-3/4" (222 mm)
- Width: 1-7/8" (45 mm)
- Depth: 10" (254 mm)
- Weight: 5.5 lb. (2.5 kg)
AMS Neve 2254/R Mono Limiter/Compressor
Regular price $2,895.00 Save $-2,895.00AMS Neve 2254/R Mono Limiter/Compressor
The AMS Neve 2254/R is an exacting replica of the original 2254 80-series console compressor in rackmountable form, with save and recall of settings via USB (Mac/PC).
Like so many of Mr. Rupert Neve's designs, the 2254 mono Limiter/Compressor unit quickly became a legend. It started out as a 2-bus compressor in 80-series consoles. Later, when it was made available as outboard as a mono compressor, its shape was an unmountable rectangular cuboid. From there, the 2254 went through three revisions*, including the 2254A, 2254E, and the current revision, the 2254/R. Not only does it retain the original 2254's smooth, rich sonics and gain-reduction characteristics, by virtue of using the same architecture, matching components, and original hand-wound transformers, it also enhances it with modern user-requested features. Now in an easily rack-mountable 1U form, the 2254/R allows settings to be saved and recalled using Neve Total Recall software via USB.
AMS Neve 2254/R Mono Limiter/Compressor-Just the Facts
- Classic mono limiter/compressor made to the design of the late 1960s
- Hand-made in Burnley, England using original Neve specification transformers
- Original Neve 2254 discrete Class-A circuit design
- Transformer-coupled circuits used in input, bridge-driver, sidechain, and output stages
- Manual fast attack time adjustment and transparent level control
- Independent limiter in/out and compressor in/out selection
- Total-bypass switch
- Multiple units can be linked together to provide multi-unit sidechain control from a single unit
- Compatible with Neve Total Recall software; simply connect the 2254/R using USB to a host PC or Mac running Neve Recall software
AMS Neve 2254/R-Under the Hood
The 2254 is a discrete Class-A design with transformer-coupled circuitry that includes the input stage, innovative diode bridge, sidechain, and output stages, which gave the 2254 is unique sound.
However, the real magic of the 2254 is its diode bridge gain-reduction element. The bridge responds to the dynamic resistance of the diodes which changes in response to the current of the control voltage. Of course, it's not all green lights and rights. Diode attenuators exhibit non-linear behavior and as a result, have high levels of distortion. While non-linearity and distortion can be good things in terms of producing the rich analog sound we all prefer, you can have too much of a good thing. To overcome the distortion, the level ahead of the bridge was attenuated by around 40dB, which brought it down to an acceptable level. The output of the diode bridge passed through another transformer and on to an amplifier chain (the BA183/283). The gain makeup element is also another clever bit of engineering. It's actually a 20dB attenuator which makes up gain by reducing the amount of attenuation.
There's also manual adjustment of fast attack time, continuously variable between 100µS and 2mS. Plus enhancement of the signal presence LED, which changes from green to red to warn of imminent clipping. Neve Recall software allows settings from the 2254/R to be stored on a PC or Mac and recalled for later use. The Recall software can also be used for all the units in the 88 Outboard range including 8801, 8803, 8804 & 8816. Multiple units can be stored and recalled together, up to a total of 16 units in any combination.
PAD For the Record-The original or prototype of the 2254 limiter/compressor was reputedly designed by David Rees, a design engineer who worked in tandem with Rupert Neve in the late '60s. A former employee of the BBC, Rees' original model, which laid the groundwork for the Neve 2253, was components wired inside a wooden box. By 1969, the 2253 evolved into the Neve 2254, the rectangular cuboid mentioned earlier, which also became the standard 2-bus compressor for the 80-series consoles. (The 2254 itself evolved into the Neve 33609 compressor, but that's another history lesson). Since the introduction of the 2254, there were 3 major revisions of the original 2254; the 2254/A, the 2254/E and the current version, the 2254/R. The 2254/A had a fixed slow attack time of 5ms, while the 2254/E and later versions had the option for a faster attack time. The 2254/R offers the ability to set the attack time between 100 microseconds and 2ms.
Compressor/Limiter
The 2254/R has two chains controlling the level control element; one for compression the other for limiting.
Limiter
A yellow backlit button switches the limiter sidechain in and out of the circuit. Its level is set from +4dBu to +20dBu in 2dB steps. There are three preset recovery times; 100ms, 200ms, and 800ms, plus an automatic setting (Auto). In the Auto position, both the attack and recovery times are composite and self-adjusting. Speeds are rapid for isolated peaks while remaining slow for persistently high levels, so the impression of a normal dynamic range is preserved as the program rides on a slowly moving “gain platform”.
In its default setting, the 2254 has a slow attack time of 5ms to avoid unpleasant effects when processing certain signals such as a percussive piano or vocals. In this way, a narrow dynamic range may be achieved by feeding high levels into the 2254/R and choosing a low limit level.
When fast attack is selected, the attack time can be set from 100μS to 2mS using the associated rotary control. This control is continuously variable and is fully sweepable between those two values.
Compressor
The Compress button lights yellow when selected, and switches the Compressor sidechain in and out of the circuit. There are five preset ratios: 1.5:1, 2:1, 3:1, 4:1, and 6:1. The control characteristic is shaped so the onset of compression is smooth and progressive, the true ratio being reached within the first 5 to 10dB above the threshold. The threshold point can be varied in 2dB steps from 0dBu to +10dBu, enabling a wide variety of effects. Low ratios with a low threshold setting will preserve dynamic range and achieve a high signal-to-noise ratio. A high Ratio with a high Threshold will behave as a partial limiter.
When the threshold is below line level, the gain control provides up to 20dB of makeup in 2dB steps to restore the mean program level. The 2254/R has four preset recovery times; 100ms, 200ms, 800ms, and Auto. In the Auto position, both the attack and recovery times are composite and self-adjusting. Speeds are rapid for isolated peaks while remaining slow for persistently high levels, so the impression of a normal dynamic range is preserved.
Meter
The program meter is operated by a simple drive circuit with rapid attack and slow decay times that correspond to the typical PPM characteristic. The green led to the right side of the meter will light at a threshold of about -10dBu.
The LED turns red when the program reaches a level of +25dBu, indicating imminent clipping. The meter can be set to display either the Input signal, level, output signal level, or the amount of gain reduction applied to the signal by the compressor and limiter in total.
Applications
Due to the inherent distortion and noise floor of the diode bridge, the 2254/R has a thickening effect on program material, making a stereo pair particularly useful for adding fullness to instrument subgroups, such as drums.
The 2254/R gives you the vintage sound of the 2254 with the repeatability that the vintage models were simply not capable of. For more information, call or chat online with you PAD Studio Specialist.
Specifications
General
- Power: 500mA, 36 volts DC
- Input: 10k ohm, bridging, balanced, earth-free
Output
- Source Impedance: 80 ohms, balanced and earth-free
- Maximum Output: +26dBu into 600 ohms
- Gain: 0dB, preset adjustment
- Noise: -72.5dBu in the band 20 Hz to 20 kHz
- Frequency Response: Flat, within 1dB from 20 Hz to 20 kHz
- Distortion: 0dBu: 0.03%; (Typically measured at +8dBu, 800mS Recovery) +15dBu: 0.2%
Limiter
- Ratio: >100:1
- Level: Adjustable from +4dBu to +20dBu in 1dB steps
- Attack Time: 5mS (slow) or selectable between 100μS to 2mS (Fast)
- Recovery Time: Selectable between 100mS / 200mS / 800mS / Auto
Compressor
- Ratio: Selectable between 1.5:1 / 2:1 / 3:1 / 4:1 / 6:1
- Threshold: Adjustable from -20dBu to +10dBu in 2dB steps
- Attack Time: 5mS
- Recovery Time: Selectable between 400mS / 800mS / 1500mS / Auto
- Gain Make Up: Adjustable Gain make-up available from 0 dB to +20 dB
Meter
- Switched to indicate either:
- Gain reduction control (up to 16dB), or
- Input or Output signal level (-16dBu to +12dBu)
- Action approximates to that of PPM
AMS Neve 2264ALB Mono Limiter/Compressor Module - 500-Series
Regular price $1,295.00 Save $-1,295.00The AMS Neve 2264ALB is a VPN-compliant, 500-series version of the legendary 2264A console compressor with added features including signal-presence indicator and slow attack option
The Neve 2264A rapidly became a legend among top producers and engineers. An improved version of the 2254/R featuring advanced circuit design and more precise response curves, the 2264A offered the advantages of a modular design that could fit in an 80-series console or compatible rack over the rectangular cuboid that was the original 2254. The AMS Neve 2264ALB goes a step further in convenience and accessibility thanks to its 500-series format, which enables any 500 user to stuff their lunchbox with Neve. In fact, with a 2-way INS Link cable, you can pair the 2264ALB with a 1073LB preamp, or configure an entire Neve channel strip by adding the 1073LBEQ with a 3-way link cable. Plus, you can put the EQ ahead of, or after the compressor. The 2264ALB is a true studio workhorse. It sounds great on acoustic and electric guitar, piano, synthesizers, and vocals, as well as drum bus or overall mix if you're lucky enough to own a pair. It offers up the smooth, creamy sound and girth that made its forebears the icons they were and still remain.
AMS Neve 2264ALB Mono Limiter/Compressor-Just the Facts:
- Classic mono Limiter/Compressor, available in a 500-series format
- Transformer-coupled circuits used in input, bridge-driver, sidechain, and output stages
- Independent limiter and compressor in/out selectors
- Bypass switch connects input terminals directly to output terminals
- Slow Attack switch changes between classic 2264A attack settings and new Slow Attack setting for buss compression work
- Digital LED meter with approximate PPM ballistics indicates 0dB to 20dB of gain reduction
- Audio Processing Insert design allows the audio to/from the 2264ALB module to be inserted into the audio path of an existing 1073LB module (modules must be fitted in the same 500-series rack)
- Fully screened module, packaged in Mu-metal case helps eliminate stray electromagnetic fields from 500-series rack PSU or other module types
AMS Neve 2264ALB Mono Limiter/Compressor-Under the Hood
Crafted in England by Neve engineers, the 2264ALB retains the original 2264A's unique sonic characteristics by using the same architecture, matching components and original hand-wound transformers and adds new features: a Signal Presence indicator LED and a Slow Attack option. And it delivers it in a modern and portable 500 form-factor which professional producers and engineers have come to rely on.
Simply install into an empty slot in your compatible 500-series rack, connect your line level signals and inject the legendary Neve dynamic sound into your audio creations. Plus, you can have a complete channel strip with the incredible Neve 1073LB microphone preamp module and 1073LBEQ. All you need is a 3-way INS Link cable and Bob's your uncle. The 2264ALB module can be inserted between the input and output stages of the 1073LB module, creating an all-new Neve classic audio path (modules must be fitted in the same 500-series rack).
Compressor/Limiter
The 2264ALB has two chains controlling the level control element; one for compression the other for limiting.
Limiter
This 2264ALB has a limiting attack time of 4msec. This slow attack time is used on program material of moderately percussive nature, such as a solo piano. With this attack time, a very narrow dynamic range can be achieved by feeding high levels into the limiter while using a low limit level. A fast attack time is desirable for example when the unit is used for driving a transmitter (Fast attack times should be used with care when recording). The limiting threshold s can be varied between +4dBm and +15dBm. A range of recovery times for the limiting action is provided by the Limit Recovery control, which may be selected according to the nature of the program. The Auto position is used where automatic corrective action is preferred. This provides a composite control with rapid response to isolated peaks and a slower recovery after prolonged high levels.
Compressor
There are five preset ratios: 1.5:1, 2:1, 3:1, 4:1, and 6:1. The control characteristic is shaped so the onset of compression is smooth and progressive, the true ratio is reached with around 6dB above the threshold. The threshold point may be varied in from -20dBm to +10dBm giving a wide range of effects. Low ratios operated from a low threshold will preserve the impression of dynamic range while enabling the operator to achieve a significantly better signal-to-noise ratio when recording. A high ratio operated from a high threshold gives a partial limiting action. A high Ratio with a high Threshold will behave as a partial limiter.
When the threshold is below line level, the gain control provides up to 20dB of makeup to restore the mean program level. When both of the Limit and Compress switches are set to IN, the sidechains controlling limiting and compressing will be operative. Under these conditions, the compressor is effective below +8dBm only, because, at this point, the limiting action will take over complete control.
VPR-Alliance compliant
The 500-series, which has taken the industry by storm, began with API founder Saul Walker and his innovative modular console designs. API founded the VPR Alliance, the industry standard for 500-series modules, to ensure compatibility among all manufacturers off 500-series modules. This SSL module has been specifically designed to operate in an API 500-series power rack such as the API lunchbox® or its equivalent.
If you've been missing out on classic Neve compression due to the lack of a vintage 80-series console, your time has come. Add a pair of 2264ALB Limiter/Compressors to your lunchbox and crunch away. For more information, call or chat online with your PAD Studio Specialist.
Specifications
- Input: 10,000 ohm, bridging, balanced, and earth-free.
- Output: Balanced and earth-free.
- Maximum output into 600 ohms: 26dBm
- Gain: Nominally 0dBm, compress and Limit thresholds are defined in relation to the output level when terminated to 600 ohm
- Bypass switch: In the bypass position, the output terminals are connected to the input terminals directly
- Control Voltage Linking Switch: Enables the control voltage to be derived either internally or can be externally connected to the Lunchbox™ pin 6 bus
- Noise (Measured between 20Hz and 20kHz): RMS output noise does not exceed -75dBm with no gain make up, or -55dBm with 20dB of gain make up applied (only when Compress is selected)
- Frequency Response: Relative to 1kHz, response is within +0, -0.5dB over range of 20Hz to 20kHz
- Distortion (Measured at 1kHz, distortion does not exceed the following):
- COMPRESS & LIMIT switched OUT, output level at +9dBm: 0.05%
- COMPRESS switched IN, ratio 6:1, recovery 800ms, output level +9dBm: 0.2%
- LIMIT switched IN, recovery 800ms, input level +20dBm, threshold +4dBm: 0.4%
Parameters
- Limit Threshold: Variable from +4dBm to +15dBm
- Limit Ratio: Not less than 100:1
- Limit Attack Time: 4ms, measured by increasing the input level 10dB, and measuring the time taken for the output level to decay 1dB above the limit threshold level
- Limit Recovery Time: 50ms / 100ms / 200ms / 800ms / Auto 1 (100ms/2 sec) / Auto 2 (50ms/5 sec)
- Compression Ratio: 1.5:1 / 2:1 / 3:1 / 4:1 / 6:1
- Compression Threshold: Variable from -20dBm to +10dBm
- Compressor Attack Time: 3ms (switchable to 10ms), measured by increasing the input level 10dB, and measuring the time taken for the output level to decay to 1db above the limit threshold level
- Compressor Recovery Time: 100ms / 400ms / 800ms / 1.5 sec / Auto 1 (100ms/2 sec) / Auto 2 (50ms/5 sec)
- Gain Make Up: 0 to 20dB extra gain in 2dB steps when Compress is selected
Other
- Meter: Indicates 0 to 20dB of gain reduction with approximate PPM ballistics
AMS Neve 33609/N Dual Compressor/Limiter
Regular price $3,995.00 Save $-3,995.00The AMS Neve 33609/N is a dual mono/stereo compressor and limiter based on the 2254 console compressor found in Neve 80-series consoles, using the same diode-bridge detector and custom input and output transformers
The operating principals of the 33609/N were inherited from the famed 2254A console compressor, which was a rectangular cuboid housed in the master section. Intended for mix compression and broadcast since its inception, the 33609 became a “desert island” compressor for top engineers, mixers, and producers. Like many AMS Neve classics, it went through a number of revisions until the current 33609/N, which remains the reference standard of bus compression for studios around the globe. The AMS Neve 33609/N is also uniquely suited for mastering applications. Since it includes a separate limiter and compressor for each channel, it shortens the signal path by doing the work of two units in one. Not just for mix compression, the 33609/N is also great for tracking vocals. Not only does it add girth to vocals, but you can also use mild compression for a natural sound while the limiter is there to stand up to unexpected sonic mayhem visited on unsuspecting converters by excitable singers. With an AMS Neve 33609/N sitting proudly in your racks, who knows what creative uses you might originate.*
AMS Neve 33609/N Dual Compressor / Limiter-Just the Facts:
- Classic stereo compressor/limiter designed to exacting 1970's specifications
- Made using hand-wired Neve transformers in Burnley, England
- Classic 2254 feedback compression circuitry
- Brick wall limiting
- Transparent level control
- Perfect for mixing, broadcast, and mastering applications
- Hard-limit feature for digital recording
- Limit in/out; compress in/out
- Discrete output stage for a slightly warmer sound
AMS Neve 33609/N-Under the Hood
Much like the classic 1073 and 1081 microphone preamplifiers, the 33609/N stereo compressor is a benchmark studio tool and subsequently the first choice for top producers, mixers, and engineers.
The Neve 33609 uses a unique diode bridge for gain reduction. Its discrete class-A design offers fast and slow attack times, multiple release times, and threshold levels. The 33609/N comprises two separate compressors and limiters in a stand-alone 2U rack-mount unit. The 33609/N can operate in dual mono, stereo, or independent operation, with the option to link to other units for multi-channel use. At its core, the 33609/N retains the same basic circuitry as earlier discrete models, now with extra control options and a classic appearance.
The signature sound of the 33609's compression is very smooth and is capable of relatively transparent behavior even at extreme settings. After several iterations over the years, today's 33609/N provides the best of both worlds: original Neve 33609 sound, with enhanced internal and external I/O switching as compared to the original model. Additionally, front-panel controls are detented for easy repeatability.
The 33609 features independent sidechains for the compressor and limiter sections, with similar independent threshold, recovery, and attack controls. The compressor features a selection of ratios from 1.5:1 to 6:1 and a gain make-up control that comes before the limiter. Overall gain reduction is indicated on a moving coil meter.
*PAD For the Record-While the 33609 has primarily been used on the console master bus, notable users such as Andrew Scheps and Michael Brauer have found more unique uses for it. Scheps, who owns two Neve 8068 consoles, which were designed with quadraphonic sound in mind, uses the 33609 on the “rear bus” (for the rear set of speakers), or what he calls the “glue bus” to create cohesion in a mix. All instruments and vocals are sent to the glue bus post fader, mirroring the mix in both levels and panning to “glue” the mix together. The 33609 is set to dual mono mode, so that instruments requiring more compression on one side of the mix won't affect instruments on the other side that don't require as much compression. Michael Brauer, on the other hand, uses the 33609 paired with a Pultec EQP1-A on submaster bus “A” on an SSL XL 9000 console. Only vocals and possibly high-frequency instruments are sent to this bus, so chosen such that their transients won't affect one another. Since each of the four submasters has their own compressor for specific instruments, the vocals are not adversely affected by high-energy transients from other instruments. And like its predecessor, the Neve 2254A console compressor, the 33609 adds warmth, body, and the unmistakable character of Neve.
The AMS Neve 33609/N is an industry-defining compressor with a sound that's it a worldwide studio standard for more than three decades. For more information, call or chat online with your PAD Studio Specialist today.
Specifications:
General
- Input Impedance 10kW (internally switchable to 600W , refer to vendor).
- Maximum output >26dBu into 600Ω, balanced and earth free.
- <0.075% at 1kHz (bypass in, compress and limit out, input level 9dBu); <0.2% at 1kHz (compress in, ratio 6:1, gain 20dB, recovery 800mS, threshold −18dBu); <0.45% at 1kHz (limit in, compress out, recovery 800mS, input level 22dBu, threshold −18dBu)
- Frequency Response: ±0.5dB 20Hz to 20kHz rel. 1kHz
- Noise: −75dBu, 22Hz - 22kHz, input terminated with 600Ω (bypass in, compress and limit out), −55dBu (compress in, gain 20dB)
- Limit Threshold: 4dBu to 15dBu
- Limit Ratio: Change in output level <0.1dB with 10dBu to 20dBu step input
- Limit Attack Time: Fast 2ms ±1, slow 4ms ±1
- Limit Recovery Time: 50ms to 800ms, a1 (auto): 100ms/2000ms, a2 (auto): 50ms/5000ms
- Compress Ratio: 1.5:1 to 6:1
- Compress Attack Time: Fast 3ms ±1, slow 6ms ±1 with 100Hz first order high-pass filter
- Compress Recovery Time: 100ms to 1500ms, a1 (auto): 100ms/2000ms, a2 (auto): 50ms/5000ms
- Power: 100-230Vrms, 50/60Hz, 28W
Physical
- Height: 3-1/2" (88 mm)
- Width: 19" (480 mm)
- Depth: 10" (255 mm)
- Weight: 11 lb. (5kg)
![AMS Neve 5U Rack & PSU (empty) Houses up to 8x 1073/1084 Modules Vertically](http://opticecho.myshopify.com/cdn/shop/files/AMSNeve5URack_PSU_{width}x.jpg?v=1717760186)
AMS Neve 5U Rack & PSU (empty) Houses up to 8x 1073/1084 Modules Vertically
Regular price $3,990.00 Save $-3,990.00AMS Neve 8051 Surround Compressor
Regular price $5,995.00 Save $-5,995.00The AMS Neve 8051 is a 5.1 multi-channel analog compressor handmade in the UK with six transformer-balanced audio paths, two side chains, and a key input
Built for 5.1 surround mixing, the AMS Neve 8051 is based on six 2254 compression circuits, using the same feedback topology as the legendary 33609 stereo compressor. The 8051 also shares the same transformers, diode-bridge gain control, and discrete power amplifiers in the audio path. A powerful tool for surround mixing and mastering, the AMS Neve 8051 features flexible sidechain routing, trimming, and filtering-and of course, the classic and unmistakable Neve sound.
AMS Neve 8051 Surround Compressor-Just the Facts
- Hand-built, hand-wired analog compressor for surround mixing
- Six transformer-balanced audio paths
- Ideal surround broadcast or mastering compressor
- Sidechain control trims and sidechain A/B bias control
- High- and low-pass filter
- Electronically balanced key input and LFE filter inputs
- All other inputs transformer-balanced with 3.6k-ohm input impedance
- All outputs electronically balanced, post output transformers
- Control Voltage I/O provided for linking multiple units or linking to the 33609 stereo compressor
PAD For the Record-The original or prototype of the 2254 limiter/compressor was reputedly designed by David Rees, a design engineer who worked in tandem with Rupert Neve in the late '60s. A former employee of the BBC, Rees' original model, which laid the groundwork for the Neve 2253, was components wired inside a wooden box. By 1969, the 2253 evolved into the Neve 2254, a non-rackmountable rectangular cuboid, which also became the standard 2-bus compressor for the 80-series consoles. The 2254 itself evolved into the Neve 33609 compressor. Working closely with Rupert Neve, the original 33609 was designed in the 70s by Geoff Tanner, founder of Aurora Audio and acknowledged expert on all things vintage Neve.
AMS Neve 8051 Surround Compressor-Under the Hood
Most compressors apply gain reduction based entirely on the signal level at their inputs. A level detector examines the input and drives an output VCA that is assumed to have a complimentary response (a “feed-forward” system). The 8051 uses a feedback topology, monitoring the output of each gain cell and continually adjusting the control voltage returned to give the required gain reduction. This means that the control-voltage linking has to follow sidechain linking to maintain a closed loop. Once this feedback is in place, the sidechain output can be linked to other channels using the 8051's unlit CV link buttons. These channels then follow the same dynamic envelope as the SC Linked channels, but without their audio content affecting the compression. A channel may also have control voltage linked from both sidechains. In this case, the sidechain providing the most gain reduction at any moment controls the channel, and the greater of the two gain makeup settings will be applied.
Whether you're mixing or mastering in 5.1 surround, there's no better choice than the AMS Neve 8051 Surround Compressor if smooth, rich Neve sound is what you're after on your masters. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
I/O
- The key input and LFE filter inputs are electronically balanced with an input impedance of 10k ohms. All other inputs are transformer balanced with 3.6kohms input impedances
- All outputs are electronically balanced post the output transformers, with maximum output of +26dBu into 600 ohms. The unit is calibrated for bridging loads greater than 10k ohms
- Control Voltage I/O is provided for linking multiple units, or linking to 33609 compressors; connection is by 15-pin D-Type
Audio Performance
- Equivalent input noise (20kHz band): < -78dBu
- THD+N (for 20dBu input @1kHz): < 0.03%
- Maximum Output Level: > 26dBu into 600 ohms
- Inter-channel Crosstalk: < -80dB at 15kHz
- Frequency Response ±0.5dB 20Hz to 20kHz
Control
- LFE filter: 12dB/octave low-pass, -3dB frequency selectable to 80Hz, 100Hz or 120Hz
- Sidechain and key filters: 12dB/octave high-pass, -3dB frequency selectable to 80Hz, 100Hz or 120Hz
- Threshold: -20dBu to +16dBu master control, with ±15dB trims on all channels
- Make-up gain: -10dB to +20dB.
- Ratio: 1.5:1, 2:1, 3:1, 4:1, 6:1, MAX (~8:1)
- Attack: 2ms, 4ms, 6ms, 8ms and 16ms
- Release: 100ms, 200ms, 400ms, 800ms, 1.5s and 3s
- Output Level Trim: 0dB to -5.5dB pad, in 0.25dB steps
Power Requirements
Rated voltage: 100-250V AC
- Rated frequency: 47-63Hz
- Rated current: .25A at 250V
Primary protection fuse
- Operating Voltage: 250/110V
- Fuse rating and type: T1.6A/T1.6A A/S ceramic
- Location: Rear panel IEC mains connector
Physical
- Height: 5-1/4" (135 mm)
- Depth: 20" (500 mm)
- Width: 19" 483 mm)
- Weight: 23 lb. (10.5kg)
AMS Neve 8424 & 1073 OPX Bundle with Manual Fader
Regular price $27,950.00 Save $-27,950.00The 8424 console is designed to fit the needs of the modern hybrid studio where the speed of in-the-box workflow is enhanced with the ultimate sound quality of analogue outboard gear. Designed to be straightforward and accessible to all, this versatile and powerful desk provides a centralized platform with unparalleled connectivity, facilitating an ergonomic link between the linear analogue processing world of outboard gear, analogue synths and instruments, to the digital world of DAW workflow, software plugins and session recall.
Capitalizing on Neve's sixty years of technical heritage and highly revered analogue circuit design, the British-designed 8424 fits perfectly into many different applications. Whether you're a music producer or an artist with your own project studio, the owner of a small professional audio facility or the person in charge of an educational facility, this compact, budget-conscious desk delivers everything you need to record, mix, monitor and master music quickly, marrying Neve's revered sonic excellence with the speed and flexibility for today's connected workflows.
8424 Console Snapshot
- The 8424 is designed to connect to and utilize all instruments and outboard equipment
- 2 x 500 series slots for internal expansion options
- Two Inputs Per Channel - Seamlessly switch from Mix to Record Inputs at the push of a button
- Third channel strip Input for dual-layer use
- Mix up to 48 Mono Signals at once
- Marinair® Transformers on Mix, AFL, CUE bus for true Neve voltage mixing
- 80 - series Neve® sound in a compact frame
- Large format console Centre Section. Multiple speaker sets, dual Cue system and three-way talkback system
- Internal Snapshot system to Save/Load multiple all console settings across multiple sessions
- 1073® preamps and DI inputs with Smart Routing for recording in the live or Control room
- In-Line Console capability
- 25-way D-Type and Balanced Jack Inputs on rear and on the front for a combination of simple and professional I/O Connection
Motorized Faders are available now.
Features:
Our Research and Development team have been working hard on our latest console feature, integrating motorized faders into the 8424 console. We're delighted to be able to announce that motorized faders are available now.
🎚 Fully Motorized faders
Our new console upgrade provides motorized faders across all 24 channels, four mono groups, and stereo mix fader.
🎚 Total DAW integration
This new feature turns this pure analogue console into a fully integrated DAW controller, working with all your favorite DAW's.
🎚 Complete Transport control
The 8424's new transport control panel gives access to all DAW transport controls. Automation modes, DAW sends, pans and plugin parameters can all be controlled from the console surface.
AMS Neve 1073 OPX
To mark the 50th anniversary of the legendary 1073® microphone preamp, we're bringing the story full circle with the launch of the 1073OPX, a brand new Octal Microphone/Line/Instrument Preamplifier that is designed to meet the needs of the modern studio environment.
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/22053cd4-9d21-4c5a-b283-3f6a0b756447.jpg)
With the launch of the 1073OPX, we've taken the 1970s classic and updated it for today's workflow by packing eight legendary 1073® remote-controlled preamps with Marinair® transformers into a 2U rack unit. Front and rear connectors give comprehensive connectivity to any Studio/Live/Broadcast environment, while modern remote-control software gives two-way control with Total Recall™ of all settings. Input sources benefit from the transformer-coupled input stage and can be connected directly to the front-mounted Mic/Line/DI input for recording in the studio control-room.
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/video_thumbnails_new/1b1c2bc0ab7724c4d8e6661335075027.png)
The analogue and digital monitor signal path of the 1073OPX allows it to be used as a complete standalone I/O interface or as a live room remote preamp with a full, latency-free monitoring cue mix signal path. The optional digital I/O card comes with Neve's industry-revered mastering-grade converters with up to 192kHz/24-Bit A/D conversion over USB connection. This ensures that the unit can be used as a Primary Audio Interface to any connected DAW-enabled computer, as well as Primary and Secondary Dante™ connectivity for Audio-over-IP applications.
Neve® 8424 - Automated
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/4caa4cd6-4e19-468c-b384-df74adadb793.jpg)
Key features include:
- 8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.
- Exclusive Neve® Marinair® transformers on both the Line and Microphone input.
- Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)
- Automatic Total Recall™ of all settings.
- Front Transformer-coupled Mic/Line combi input
- Rear Transformer-coupled Mic/Line D-Type connection
- 80Hz High pass filter
- -25dB pad
- Phase flip
- Smart Phantom Power control
- Hi/Lo Impedance selector from 300Ω to 1.3KΩ
- Separate stereo monitor path with Independent level control
As far as rock legends go, few names resonate as deeply as Def Leppard's Joe Elliott. Known for his iconic vocals and songwriting prowess, Elliott's impact over the decades has been substantial. Joe’s home studio, ‘Joe’s Garage’ is where the magic is captured and perfected – and AMS Neve were lucky enough to get behind the scenes with Joe and Def Leppard’s long-standing and immensely talented Live/Studio Engineer, Ronan McHugh.
Established in 1988, “Joe's Garage” was initially conceived as the intimate space for capturing the essence of Def Leppard's "Adrenalize" album. Today, this studio stands as a testament to decades of musical evolution and, as Joe describes a “fun place”.
Joe offers a firsthand glimpse into the Def Leppard's sound recording hub, adorned with gifts from rock legends such as Ronnie Wood and Gene Simmons, whilst sharing stories from the early days of Def Leppard and discussing the challenges faced when producing Hysteria, which went on to be one of the best-selling albums of all time.
With the Neve 8424 being the first analogue console since 1988, Ronan talks through the decision to go with not one but two 8424 consoles, the reasons why they shifted from working “in the box” back to working on an analogue console and shares his insight on the Def Leppard 8424 workflow.
AMS Neve 8424 & 1073 OPX Bundle with Motorized Fader
Regular price $32,950.00 Save $-32,950.00The 8424 console is designed to fit the needs of the modern hybrid studio where the speed of in-the-box workflow is enhanced with the ultimate sound quality of analogue outboard gear. Designed to be straightforward and accessible to all, this versatile and powerful desk provides a centralized platform with unparalleled connectivity, facilitating an ergonomic link between the linear analogue processing world of outboard gear, analogue synths and instruments, to the digital world of DAW workflow, software plugins and session recall.
Capitalizing on Neve's sixty years of technical heritage and highly revered analogue circuit design, the British-designed 8424 fits perfectly into many different applications. Whether you're a music producer or an artist with your own project studio, the owner of a small professional audio facility or the person in charge of an educational facility, this compact, budget-conscious desk delivers everything you need to record, mix, monitor and master music quickly, marrying Neve's revered sonic excellence with the speed and flexibility for today's connected workflows.
8424 Console Snapshot
- The 8424 is designed to connect to and utilize all instruments and outboard equipment
- 2 x 500 series slots for internal expansion options
- Two Inputs Per Channel - Seamlessly switch from Mix to Record Inputs at the push of a button
- Third channel strip Input for dual-layer use
- Mix up to 48 Mono Signals at once
- Marinair® Transformers on Mix, AFL, CUE bus for true Neve voltage mixing
- 80 - series Neve® sound in a compact frame
- Large format console Centre Section. Multiple speaker sets, dual Cue system and three-way talkback system
- Internal Snapshot system to Save/Load multiple all console settings across multiple sessions
- 1073® preamps and DI inputs with Smart Routing for recording in the live or Control room
- In-Line Console capability
- 25-way D-Type and Balanced Jack Inputs on rear and on the front for a combination of simple and professional I/O Connection
Motorized Faders are available now.
Features:
Our Research and Development team have been working hard on our latest console feature, integrating motorized faders into the 8424 console. We're delighted to be able to announce that motorized faders are available now.
🎚 Fully Motorized faders
Our new console upgrade provides motorized faders across all 24 channels, four mono groups, and stereo mix fader.
🎚 Total DAW integration
This new feature turns this pure analogue console into a fully integrated DAW controller, working with all your favorite DAW's.
🎚 Complete Transport control
The 8424's new transport control panel gives access to all DAW transport controls. Automation modes, DAW sends, pans and plugin parameters can all be controlled from the console surface.
AMS Neve 1073 OPX
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/22053cd4-9d21-4c5a-b283-3f6a0b756447.jpg)
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/video_thumbnails_new/1b1c2bc0ab7724c4d8e6661335075027.png)
Neve® 8424 - Automated
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/4caa4cd6-4e19-468c-b384-df74adadb793.jpg)
- 8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.
- Exclusive Neve® Marinair® transformers on both the Line and Microphone input.
- Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)
- Automatic Total Recall™ of all settings.
- Front Transformer-coupled Mic/Line combi input
- Rear Transformer-coupled Mic/Line D-Type connection
- 80Hz High pass filter
- -25dB pad
- Phase flip
- Smart Phantom Power control
- Hi/Lo Impedance selector from 300Ω to 1.3KΩ
- Separate stereo monitor path with Independent level control
As far as rock legends go, few names resonate as deeply as Def Leppard's Joe Elliott. Known for his iconic vocals and songwriting prowess, Elliott's impact over the decades has been substantial. Joe’s home studio, ‘Joe’s Garage’ is where the magic is captured and perfected – and AMS Neve were lucky enough to get behind the scenes with Joe and Def Leppard’s long-standing and immensely talented Live/Studio Engineer, Ronan McHugh.
Established in 1988, “Joe's Garage” was initially conceived as the intimate space for capturing the essence of Def Leppard's "Adrenalize" album. Today, this studio stands as a testament to decades of musical evolution and, as Joe describes a “fun place”.
Joe offers a firsthand glimpse into the Def Leppard's sound recording hub, adorned with gifts from rock legends such as Ronnie Wood and Gene Simmons, whilst sharing stories from the early days of Def Leppard and discussing the challenges faced when producing Hysteria, which went on to be one of the best-selling albums of all time.
With the Neve 8424 being the first analogue console since 1988, Ronan talks through the decision to go with not one but two 8424 consoles, the reasons why they shifted from working “in the box” back to working on an analogue console and shares his insight on the Def Leppard 8424 workflow.
AMS Neve 8424 Manual Fader Console + 2x 1073OPX Octal Mic Preamp Bundle
Regular price $30,950.00 Save $-30,950.00The 8424 console is designed to fit the needs of the modern hybrid studio where the speed of in-the-box workflow is enhanced with the ultimate sound quality of analogue outboard gear. Designed to be straightforward and accessible to all, this versatile and powerful desk provides a centralized platform with unparalleled connectivity, facilitating an ergonomic link between the linear analogue processing world of outboard gear, analogue synths and instruments, to the digital world of DAW workflow, software plugins and session recall.
Capitalizing on Neve's sixty years of technical heritage and highly revered analogue circuit design, the British-designed 8424 fits perfectly into many different applications. Whether you're a music producer or an artist with your own project studio, the owner of a small professional audio facility or the person in charge of an educational facility, this compact, budget-conscious desk delivers everything you need to record, mix, monitor and master music quickly, marrying Neve's revered sonic excellence with the speed and flexibility for today's connected workflows.
8424 Console Snapshot
- The 8424 is designed to connect to and utilize all instruments and outboard equipment
- 2 x 500 series slots for internal expansion options
- Two Inputs Per Channel - Seamlessly switch from Mix to Record Inputs at the push of a button
- Third channel strip Input for dual-layer use
- Mix up to 48 Mono Signals at once
- Marinair® Transformers on Mix, AFL, CUE bus for true Neve voltage mixing
- 80 - series Neve® sound in a compact frame
- Large format console Centre Section. Multiple speaker sets, dual Cue system and three-way talkback system
- Internal Snapshot system to Save/Load multiple all console settings across multiple sessions
- 1073® preamps and DI inputs with Smart Routing for recording in the live or Control room
- In-Line Console capability
- 25-way D-Type and Balanced Jack Inputs on rear and on the front for a combination of simple and professional I/O Connection
Motorized Faders are available now.
Features:
Our Research and Development team have been working hard on our latest console feature, integrating motorized faders into the 8424 console. We're delighted to be able to announce that motorized faders are available now.
🎚 Fully Motorized faders
Our new console upgrade provides motorized faders across all 24 channels, four mono groups, and stereo mix fader.
🎚 Total DAW integration
This new feature turns this pure analogue console into a fully integrated DAW controller, working with all your favorite DAW's.
🎚 Complete Transport control
The 8424's new transport control panel gives access to all DAW transport controls. Automation modes, DAW sends, pans and plugin parameters can all be controlled from the console surface.
AMS Neve 1073 OPX
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/22053cd4-9d21-4c5a-b283-3f6a0b756447.jpg)
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/video_thumbnails_new/1b1c2bc0ab7724c4d8e6661335075027.png)
Neve® 8424 - Automated
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/4caa4cd6-4e19-468c-b384-df74adadb793.jpg)
- 8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.
- Exclusive Neve® Marinair® transformers on both the Line and Microphone input.
- Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)
- Automatic Total Recall™ of all settings.
- Front Transformer-coupled Mic/Line combi input
- Rear Transformer-coupled Mic/Line D-Type connection
- 80Hz High pass filter
- -25dB pad
- Phase flip
- Smart Phantom Power control
- Hi/Lo Impedance selector from 300Ω to 1.3KΩ
- Separate stereo monitor path with Independent level control
As far as rock legends go, few names resonate as deeply as Def Leppard's Joe Elliott. Known for his iconic vocals and songwriting prowess, Elliott's impact over the decades has been substantial. Joe’s home studio, ‘Joe’s Garage’ is where the magic is captured and perfected – and AMS Neve were lucky enough to get behind the scenes with Joe and Def Leppard’s long-standing and immensely talented Live/Studio Engineer, Ronan McHugh.
Established in 1988, “Joe's Garage” was initially conceived as the intimate space for capturing the essence of Def Leppard's "Adrenalize" album. Today, this studio stands as a testament to decades of musical evolution and, as Joe describes a “fun place”.
Joe offers a firsthand glimpse into the Def Leppard's sound recording hub, adorned with gifts from rock legends such as Ronnie Wood and Gene Simmons, whilst sharing stories from the early days of Def Leppard and discussing the challenges faced when producing Hysteria, which went on to be one of the best-selling albums of all time.
With the Neve 8424 being the first analogue console since 1988, Ronan talks through the decision to go with not one but two 8424 consoles, the reasons why they shifted from working “in the box” back to working on an analogue console and shares his insight on the Def Leppard 8424 workflow.
AMS Neve 8424 Manual Fader Console + 3x 1073OPX Octal Mic Preamp Bundle
Regular price $33,950.00 Save $-33,950.00AMS Neve 8424 Manual Fader Console + 3x 1073OPX Octal Mic Preamp Bundle
The 8424 console is designed to fit the needs of the modern hybrid studio where the speed of in-the-box workflow is enhanced with the ultimate sound quality of analogue outboard gear. Designed to be straightforward and accessible to all, this versatile and powerful desk provides a centralized platform with unparalleled connectivity, facilitating an ergonomic link between the linear analogue processing world of outboard gear, analogue synths and instruments, to the digital world of DAW workflow, software plugins and session recall.
Capitalizing on Neve's sixty years of technical heritage and highly revered analogue circuit design, the British-designed 8424 fits perfectly into many different applications. Whether you're a music producer or an artist with your own project studio, the owner of a small professional audio facility or the person in charge of an educational facility, this compact, budget-conscious desk delivers everything you need to record, mix, monitor and master music quickly, marrying Neve's revered sonic excellence with the speed and flexibility for today's connected workflows.
8424 Console Snapshot
- The 8424 is designed to connect to and utilize all instruments and outboard equipment
- 2 x 500 series slots for internal expansion options
- Two Inputs Per Channel - Seamlessly switch from Mix to Record Inputs at the push of a button
- Third channel strip Input for dual-layer use
- Mix up to 48 Mono Signals at once
- Marinair® Transformers on Mix, AFL, CUE bus for true Neve voltage mixing
- 80 - series Neve® sound in a compact frame
- Large format console Centre Section. Multiple speaker sets, dual Cue system and three-way talkback system
- Internal Snapshot system to Save/Load multiple all console settings across multiple sessions
- 1073® preamps and DI inputs with Smart Routing for recording in the live or Control room
- In-Line Console capability
- 25-way D-Type and Balanced Jack Inputs on rear and on the front for a combination of simple and professional I/O Connection
Motorized Faders are available now.
Features:
Our Research and Development team have been working hard on our latest console feature, integrating motorized faders into the 8424 console. We're delighted to be able to announce that motorized faders are available now.
Fully Motorized faders
Our new console upgrade provides motorized faders across all 24 channels, four mono groups, and stereo mix fader.
Total DAW integration
This new feature turns this pure analogue console into a fully integrated DAW controller, working with all your favorite DAW's.
Complete Transport control
The 8424's new transport control panel gives access to all DAW transport controls. Automation modes, DAW sends, pans and plugin parameters can all be controlled from the console surface.
AMS Neve 1073 OPX
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/22053cd4-9d21-4c5a-b283-3f6a0b756447.jpg)
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/video_thumbnails_new/1b1c2bc0ab7724c4d8e6661335075027.png)
Neve® 8424 - Automated
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/4caa4cd6-4e19-468c-b384-df74adadb793.jpg)
- 8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.
- Exclusive Neve® Marinair® transformers on both the Line and Microphone input.
- Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)
- Automatic Total Recall™ of all settings.
- Front Transformer-coupled Mic/Line combi input
- Rear Transformer-coupled Mic/Line D-Type connection
- 80Hz High pass filter
- -25dB pad
- Phase flip
- Smart Phantom Power control
- Hi/Lo Impedance selector from 300Ω to 1.3KΩ
- Separate stereo monitor path with Independent level control
As far as rock legends go, few names resonate as deeply as Def Leppard's Joe Elliott. Known for his iconic vocals and songwriting prowess, Elliott's impact over the decades has been substantial. Joe’s home studio, ‘Joe’s Garage’ is where the magic is captured and perfected – and AMS Neve were lucky enough to get behind the scenes with Joe and Def Leppard’s long-standing and immensely talented Live/Studio Engineer, Ronan McHugh.
Established in 1988, “Joe's Garage” was initially conceived as the intimate space for capturing the essence of Def Leppard's "Adrenalize" album. Today, this studio stands as a testament to decades of musical evolution and, as Joe describes a “fun place”.
Joe offers a firsthand glimpse into the Def Leppard's sound recording hub, adorned with gifts from rock legends such as Ronnie Wood and Gene Simmons, whilst sharing stories from the early days of Def Leppard and discussing the challenges faced when producing Hysteria, which went on to be one of the best-selling albums of all time.
With the Neve 8424 being the first analogue console since 1988, Ronan talks through the decision to go with not one but two 8424 consoles, the reasons why they shifted from working “in the box” back to working on an analogue console and shares his insight on the Def Leppard 8424 workflow.
AMS Neve 8424 Manual Faders Small Format Analog Console
Regular price $24,950.00 Save $-24,950.00AMS Neve 8424 Manual Faders Small Format Analog Console
The 8424 console is designed to fit the needs of the modern hybrid studio where the speed of in-the-box workflow is enhanced with the ultimate sound quality of analogue outboard gear. Designed to be straightforward and accessible to all, this versatile and powerful desk provides a centralized platform with unparalleled connectivity, facilitating an ergonomic link between the linear analogue processing world of outboard gear, analogue synths and instruments, to the digital world of DAW workflow, software plugins and session recall.
Capitalizing on Neve's sixty years of technical heritage and highly revered analogue circuit design, the British-designed 8424 fits perfectly into many different applications. Whether you're a music producer or an artist with your own project studio, the owner of a small professional audio facility or the person in charge of an educational facility, this compact, budget-conscious desk delivers everything you need to record, mix, monitor and master music quickly, marrying Neve's revered sonic excellence with the speed and flexibility for today's connected workflows.
8424 Console Snapshot
- The 8424 is designed to connect to and utilize all instruments and outboard equipment
- 2 x 500 series slots for internal expansion options
- Two Inputs Per Channel - Seamlessly switch from Mix to Record Inputs at the push of a button
- Third channel strip Input for dual-layer use
- Mix up to 48 Mono Signals at once
- Marinair® Transformers on Mix, AFL, CUE bus for true Neve voltage mixing
- 80 - series Neve® sound in a compact frame
- Large format console Centre Section. Multiple speaker sets, dual Cue system and three-way talkback system
- Internal Snapshot system to Save/Load multiple all console settings across multiple sessions
- 1073® preamps and DI inputs with Smart Routing for recording in the live or Control room
- In-Line Console capability
- 25-way D-Type and Balanced Jack Inputs on rear and on the front for a combination of simple and professional I/O Connection
Motorized Faders are available now.
Features:
Our Research and Development team have been working hard on our latest console feature, integrating motorized faders into the 8424 console. We're delighted to be able to announce that motorized faders are available now.
Fully Motorized faders
Our new console upgrade provides motorized faders across all 24 channels, four mono groups, and stereo mix fader.
Total DAW integration
This new feature turns this pure analogue console into a fully integrated DAW controller, working with all your favorite DAW's.
Complete Transport control
The 8424's new transport control panel gives access to all DAW transport controls. Automation modes, DAW sends, pans and plugin parameters can all be controlled from the console surface.
AMS Neve 1073 OPX
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/22053cd4-9d21-4c5a-b283-3f6a0b756447.jpg)
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/video_thumbnails_new/1b1c2bc0ab7724c4d8e6661335075027.png)
Neve® 8424 - Automated
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/4caa4cd6-4e19-468c-b384-df74adadb793.jpg)
- 8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.
- Exclusive Neve® Marinair® transformers on both the Line and Microphone input.
- Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)
- Automatic Total Recall™ of all settings.
- Front Transformer-coupled Mic/Line combi input
- Rear Transformer-coupled Mic/Line D-Type connection
- 80Hz High pass filter
- -25dB pad
- Phase flip
- Smart Phantom Power control
- Hi/Lo Impedance selector from 300Ω to 1.3KΩ
- Separate stereo monitor path with Independent level control
As far as rock legends go, few names resonate as deeply as Def Leppard's Joe Elliott. Known for his iconic vocals and songwriting prowess, Elliott's impact over the decades has been substantial. Joe’s home studio, ‘Joe’s Garage’ is where the magic is captured and perfected – and AMS Neve were lucky enough to get behind the scenes with Joe and Def Leppard’s long-standing and immensely talented Live/Studio Engineer, Ronan McHugh.
Established in 1988, “Joe's Garage” was initially conceived as the intimate space for capturing the essence of Def Leppard's "Adrenalize" album. Today, this studio stands as a testament to decades of musical evolution and, as Joe describes a “fun place”.
Joe offers a firsthand glimpse into the Def Leppard's sound recording hub, adorned with gifts from rock legends such as Ronnie Wood and Gene Simmons, whilst sharing stories from the early days of Def Leppard and discussing the challenges faced when producing Hysteria, which went on to be one of the best-selling albums of all time.
With the Neve 8424 being the first analogue console since 1988, Ronan talks through the decision to go with not one but two 8424 consoles, the reasons why they shifted from working “in the box” back to working on an analogue console and shares his insight on the Def Leppard 8424 workflow.
AMS Neve 8424 Motorized Fader Console + 2x 1073OPX Octal Mic Preamp Bundle
Regular price $35,950.00 Save $-35,950.00AMS Neve 8424 Motorized Fader Console + 2x 1073OPX Octal Mic Preamp Bundle
The 8424 console is designed to fit the needs of the modern hybrid studio where the speed of in-the-box workflow is enhanced with the ultimate sound quality of analogue outboard gear. Designed to be straightforward and accessible to all, this versatile and powerful desk provides a centralized platform with unparalleled connectivity, facilitating an ergonomic link between the linear analogue processing world of outboard gear, analogue synths and instruments, to the digital world of DAW workflow, software plugins and session recall.
Capitalizing on Neve's sixty years of technical heritage and highly revered analogue circuit design, the British-designed 8424 fits perfectly into many different applications. Whether you're a music producer or an artist with your own project studio, the owner of a small professional audio facility or the person in charge of an educational facility, this compact, budget-conscious desk delivers everything you need to record, mix, monitor and master music quickly, marrying Neve's revered sonic excellence with the speed and flexibility for today's connected workflows.
8424 Console Snapshot
- The 8424 is designed to connect to and utilize all instruments and outboard equipment
- 2 x 500 series slots for internal expansion options
- Two Inputs Per Channel - Seamlessly switch from Mix to Record Inputs at the push of a button
- Third channel strip Input for dual-layer use
- Mix up to 48 Mono Signals at once
- Marinair® Transformers on Mix, AFL, CUE bus for true Neve voltage mixing
- 80 - series Neve® sound in a compact frame
- Large format console Centre Section. Multiple speaker sets, dual Cue system and three-way talkback system
- Internal Snapshot system to Save/Load multiple all console settings across multiple sessions
- 1073® preamps and DI inputs with Smart Routing for recording in the live or Control room
- In-Line Console capability
- 25-way D-Type and Balanced Jack Inputs on rear and on the front for a combination of simple and professional I/O Connection
Motorized Faders are available now.
Features:
Our Research and Development team have been working hard on our latest console feature, integrating motorized faders into the 8424 console. We're delighted to be able to announce that motorized faders are available now.
Fully Motorized faders
Our new console upgrade provides motorized faders across all 24 channels, four mono groups, and stereo mix fader.
Total DAW integration
This new feature turns this pure analogue console into a fully integrated DAW controller, working with all your favorite DAW's.
Complete Transport control
The 8424's new transport control panel gives access to all DAW transport controls. Automation modes, DAW sends, pans and plugin parameters can all be controlled from the console surface.
AMS Neve 1073 OPX
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/22053cd4-9d21-4c5a-b283-3f6a0b756447.jpg)
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/video_thumbnails_new/1b1c2bc0ab7724c4d8e6661335075027.png)
Neve® 8424 - Automated
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/4caa4cd6-4e19-468c-b384-df74adadb793.jpg)
- 8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.
- Exclusive Neve® Marinair® transformers on both the Line and Microphone input.
- Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)
- Automatic Total Recall™ of all settings.
- Front Transformer-coupled Mic/Line combi input
- Rear Transformer-coupled Mic/Line D-Type connection
- 80Hz High pass filter
- -25dB pad
- Phase flip
- Smart Phantom Power control
- Hi/Lo Impedance selector from 300Ω to 1.3KΩ
- Separate stereo monitor path with Independent level control
As far as rock legends go, few names resonate as deeply as Def Leppard's Joe Elliott. Known for his iconic vocals and songwriting prowess, Elliott's impact over the decades has been substantial. Joe’s home studio, ‘Joe’s Garage’ is where the magic is captured and perfected – and AMS Neve were lucky enough to get behind the scenes with Joe and Def Leppard’s long-standing and immensely talented Live/Studio Engineer, Ronan McHugh.
Established in 1988, “Joe's Garage” was initially conceived as the intimate space for capturing the essence of Def Leppard's "Adrenalize" album. Today, this studio stands as a testament to decades of musical evolution and, as Joe describes a “fun place”.
Joe offers a firsthand glimpse into the Def Leppard's sound recording hub, adorned with gifts from rock legends such as Ronnie Wood and Gene Simmons, whilst sharing stories from the early days of Def Leppard and discussing the challenges faced when producing Hysteria, which went on to be one of the best-selling albums of all time.
With the Neve 8424 being the first analogue console since 1988, Ronan talks through the decision to go with not one but two 8424 consoles, the reasons why they shifted from working “in the box” back to working on an analogue console and shares his insight on the Def Leppard 8424 workflow.
AMS Neve 8424 Motorized Fader Console + 3x 1073OPX Octal Mic Preamp Bundle
Regular price $38,950.00 Save $-38,950.00AMS Neve 8424 Motorized Fader Console + 3x 1073OPX Octal Mic Preamp Bundle
The 8424 console is designed to fit the needs of the modern hybrid studio where the speed of in-the-box workflow is enhanced with the ultimate sound quality of analogue outboard gear. Designed to be straightforward and accessible to all, this versatile and powerful desk provides a centralized platform with unparalleled connectivity, facilitating an ergonomic link between the linear analogue processing world of outboard gear, analogue synths and instruments, to the digital world of DAW workflow, software plugins and session recall.
Capitalizing on Neve's sixty years of technical heritage and highly revered analogue circuit design, the British-designed 8424 fits perfectly into many different applications. Whether you're a music producer or an artist with your own project studio, the owner of a small professional audio facility or the person in charge of an educational facility, this compact, budget-conscious desk delivers everything you need to record, mix, monitor and master music quickly, marrying Neve's revered sonic excellence with the speed and flexibility for today's connected workflows.
8424 Console Snapshot
- The 8424 is designed to connect to and utilize all instruments and outboard equipment
- 2 x 500 series slots for internal expansion options
- Two Inputs Per Channel - Seamlessly switch from Mix to Record Inputs at the push of a button
- Third channel strip Input for dual-layer use
- Mix up to 48 Mono Signals at once
- Marinair® Transformers on Mix, AFL, CUE bus for true Neve voltage mixing
- 80 - series Neve® sound in a compact frame
- Large format console Centre Section. Multiple speaker sets, dual Cue system and three-way talkback system
- Internal Snapshot system to Save/Load multiple all console settings across multiple sessions
- 1073® preamps and DI inputs with Smart Routing for recording in the live or Control room
- In-Line Console capability
- 25-way D-Type and Balanced Jack Inputs on rear and on the front for a combination of simple and professional I/O Connection
Motorized Faders are available now.
Features:
Our Research and Development team have been working hard on our latest console feature, integrating motorized faders into the 8424 console. We're delighted to be able to announce that motorized faders are available now.
Fully Motorized faders
Our new console upgrade provides motorized faders across all 24 channels, four mono groups, and stereo mix fader.
Total DAW integration
This new feature turns this pure analogue console into a fully integrated DAW controller, working with all your favorite DAW's.
Complete Transport control
The 8424's new transport control panel gives access to all DAW transport controls. Automation modes, DAW sends, pans and plugin parameters can all be controlled from the console surface.
AMS Neve 1073 OPX
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/22053cd4-9d21-4c5a-b283-3f6a0b756447.jpg)
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/video_thumbnails_new/1b1c2bc0ab7724c4d8e6661335075027.png)
Neve® 8424 - Automated
![](https://mcusercontent.com/306bfe97d32d97e2ba4d70369/images/4caa4cd6-4e19-468c-b384-df74adadb793.jpg)
- 8 Channels of remote-controlled 1073 Mic/Line/Instrument Preamplifiers.
- Exclusive Neve® Marinair® transformers on both the Line and Microphone input.
- Remote control software can control up to 8 1073® OPX racks at a time (64 preamps!)
- Automatic Total Recall™ of all settings.
- Front Transformer-coupled Mic/Line combi input
- Rear Transformer-coupled Mic/Line D-Type connection
- 80Hz High pass filter
- -25dB pad
- Phase flip
- Smart Phantom Power control
- Hi/Lo Impedance selector from 300Ω to 1.3KΩ
- Separate stereo monitor path with Independent level control
As far as rock legends go, few names resonate as deeply as Def Leppard's Joe Elliott. Known for his iconic vocals and songwriting prowess, Elliott's impact over the decades has been substantial. Joe’s home studio, ‘Joe’s Garage’ is where the magic is captured and perfected – and AMS Neve were lucky enough to get behind the scenes with Joe and Def Leppard’s long-standing and immensely talented Live/Studio Engineer, Ronan McHugh.
Established in 1988, “Joe's Garage” was initially conceived as the intimate space for capturing the essence of Def Leppard's "Adrenalize" album. Today, this studio stands as a testament to decades of musical evolution and, as Joe describes a “fun place”.
Joe offers a firsthand glimpse into the Def Leppard's sound recording hub, adorned with gifts from rock legends such as Ronnie Wood and Gene Simmons, whilst sharing stories from the early days of Def Leppard and discussing the challenges faced when producing Hysteria, which went on to be one of the best-selling albums of all time.
With the Neve 8424 being the first analogue console since 1988, Ronan talks through the decision to go with not one but two 8424 consoles, the reasons why they shifted from working “in the box” back to working on an analogue console and shares his insight on the Def Leppard 8424 workflow.
AMS Neve 8424 Motorized Fader Small Format Analog Console
Regular price $29,950.00 Save $-29,950.00The 8424 console is designed to fit the needs of the modern hybrid studio where the speed of in-the-box workflow is enhanced with the ultimate sound quality of analogue outboard gear. Designed to be straightforward and accessible to all, this versatile and powerful desk provides a centralized platform with unparalleled connectivity, facilitating an ergonomic link between the linear analogue processing world of outboard gear, analogue synths and instruments, to the digital world of DAW workflow, software plugins and session recall.
Capitalizing on Neve's sixty years of technical heritage and highly revered analogue circuit design, the British-designed 8424 fits perfectly into many different applications. Whether you're a music producer or an artist with your own project studio, the owner of a small professional audio facility or the person in charge of an educational facility, this compact, budget-conscious desk delivers everything you need to record, mix, monitor and master music quickly, marrying Neve's revered sonic excellence with the speed and flexibility for today's connected workflows.
8424 Console Snapshot
- The 8424 is designed to connect to and utilize all instruments and outboard equipment
- 2 x 500 series slots for internal expansion options
- Two Inputs Per Channel - Seamlessly switch from Mix to Record Inputs at the push of a button
- Third channel strip Input for dual-layer use
- Mix up to 48 Mono Signals at once
- Marinair® Transformers on Mix, AFL, CUE bus for true Neve voltage mixing
- 80 - series Neve® sound in a compact frame
- Large format console Centre Section. Multiple speaker sets, dual Cue system and three-way talkback system
- Internal Snapshot system to Save/Load multiple all console settings across multiple sessions
- 1073® preamps and DI inputs with Smart Routing for recording in the live or Control room
- In-Line Console capability
- 25-way D-Type and Balanced Jack Inputs on rear and on the front for a combination of simple and professional I/O Connection
8424 Console Features:
- 24 mono channels, each with A/B source selections, direct output and 100mm faders
- 4 mono groups, each with 2-band mono EQ and 100mm faders
- 1 stereo mix with Marinair® transformers, with 2-band stereo EQ, width control and 100mm fader
- 3 auxiliary sends, 2 stereo reverb returns with send to cue and 1 cue send
- 2 1073® mic/line preamps with Marinair® transformers and smart routing
- 2 independent Hi z DI inputs with smart routing
- 2 500-series slots with smart routing
- Balanced inserts on all channels, insert can be set on the channel path or second input
- Balanced inserts on groups and stereo mix
- Stereo external input and Imon stereo external input via 3.5mm jack
- 3 selectable stereo speaker sets and 2 engineer headphone outputs
- LED level meters per channel, with selectable large stereo backlit VU moving-coil meters
- In-line mode when tracking, 48 input mode when mixing
- Recall - save console snapshots and store for later recall
- Elegant smart routing and full-featured solo system
- Comprehensive talkback system, RTB mic with integrated compressor, integrated oscillator
- Extensive connectivity on rear of console, integrated power supply and cable tie bar
Motorized Faders are available now.
Features:
Our Research and Development team have been working hard on our latest console feature, integrating motorized faders into the 8424 console. We're delighted to be able to announce that motorized faders are available now.
🎚 Fully Motorized faders
Our new console upgrade provides motorized faders across all 24 channels, four mono groups, and stereo mix fader.
🎚 Total DAW integration
This new feature turns this pure analogue console into a fully integrated DAW controller, working with all your favorite DAW's.
🎚 Complete Transport control
The 8424's new transport control panel gives access to all DAW transport controls. Automation modes, DAW sends, pans and plugin parameters can all be controlled from the console surface.
As far as rock legends go, few names resonate as deeply as Def Leppard's Joe Elliott. Known for his iconic vocals and songwriting prowess, Elliott's impact over the decades has been substantial. Joe’s home studio, ‘Joe’s Garage’ is where the magic is captured and perfected – and AMS Neve were lucky enough to get behind the scenes with Joe and Def Leppard’s long-standing and immensely talented Live/Studio Engineer, Ronan McHugh.
Established in 1988, “Joe's Garage” was initially conceived as the intimate space for capturing the essence of Def Leppard's "Adrenalize" album. Today, this studio stands as a testament to decades of musical evolution and, as Joe describes a “fun place”.
Joe offers a firsthand glimpse into the Def Leppard's sound recording hub, adorned with gifts from rock legends such as Ronnie Wood and Gene Simmons, whilst sharing stories from the early days of Def Leppard and discussing the challenges faced when producing Hysteria, which went on to be one of the best-selling albums of all time.
With the Neve 8424 being the first analogue console since 1988, Ronan talks through the decision to go with not one but two 8424 consoles, the reasons why they shifted from working “in the box” back to working on an analogue console and shares his insight on the Def Leppard 8424 workflow.
AMS Neve 8424 Small Format Analog Console
Regular price $24,950.00 Save $-24,950.00The 8424 console is designed to fit the needs of the modern hybrid studio where the speed of in-the-box workflow is enhanced with the ultimate sound quality of analogue outboard gear. Designed to be straightforward and accessible to all, this versatile and powerful desk provides a centralized platform with unparalleled connectivity, facilitating an ergonomic link between the linear analogue processing world of outboard gear, analogue synths and instruments, to the digital world of DAW workflow, software plugins and session recall.
Capitalizing on Neve's sixty years of technical heritage and highly revered analogue circuit design, the British-designed 8424 fits perfectly into many different applications. Whether you're a music producer or an artist with your own project studio, the owner of a small professional audio facility or the person in charge of an educational facility, this compact, budget-conscious desk delivers everything you need to record, mix, monitor and master music quickly, marrying Neve's revered sonic excellence with the speed and flexibility for today's connected workflows.
8424 Console Snapshot
- The 8424 is designed to connect to and utilize all instruments and outboard equipment
- 2 x 500 series slots for internal expansion options
- Two Inputs Per Channel - Seamlessly switch from Mix to Record Inputs at the push of a button
- Third channel strip Input for dual-layer use
- Mix up to 48 Mono Signals at once
- Marinair® Transformers on Mix, AFL, CUE bus for true Neve voltage mixing
- 80 - series Neve® sound in a compact frame
- Large format console Centre Section. Multiple speaker sets, dual Cue system and three-way talkback system
- Internal Snapshot system to Save/Load multiple all console settings across multiple sessions
- 1073® preamps and DI inputs with Smart Routing for recording in the live or Control room
- In-Line Console capability
- 25-way D-Type and Balanced Jack Inputs on rear and on the front for a combination of simple and professional I/O Connection
8424 Console Features:
- 24 mono channels, each with A/B source selections, direct output and 100mm faders
- 4 mono groups, each with 2-band mono EQ and 100mm faders
- 1 stereo mix with Marinair® transformers, with 2-band stereo EQ, width control and 100mm fader
- 3 auxiliary sends, 2 stereo reverb returns with send to cue and 1 cue send
- 2 1073® mic/line preamps with Marinair® transformers and smart routing
- 2 independent Hi z DI inputs with smart routing
- 2 500-series slots with smart routing
- Balanced inserts on all channels, insert can be set on the channel path or second input
- Balanced inserts on groups and stereo mix
- Stereo external input and Imon stereo external input via 3.5mm jack
- 3 selectable stereo speaker sets and 2 engineer headphone outputs
- LED level meters per channel, with selectable large stereo backlit VU moving-coil meters
- In-line mode when tracking, 48 input mode when mixing
- Recall - save console snapshots and store for later recall
- Elegant smart routing and full-featured solo system
- Comprehensive talkback system, RTB mic with integrated compressor, integrated oscillator
- Extensive connectivity on rear of console, integrated power supply and cable tie bar
Motorized Faders are available now.
Features:
Our Research and Development team have been working hard on our latest console feature, integrating motorized faders into the 8424 console. We're delighted to be able to announce that motorized faders are available now.
🎚 Fully Motorized faders
Our new console upgrade provides motorized faders across all 24 channels, four mono groups, and stereo mix fader.
🎚 Total DAW integration
This new feature turns this pure analogue console into a fully integrated DAW controller, working with all your favorite DAW's.
🎚 Complete Transport control
The 8424's new transport control panel gives access to all DAW transport controls. Automation modes, DAW sends, pans and plugin parameters can all be controlled from the console surface.
As far as rock legends go, few names resonate as deeply as Def Leppard's Joe Elliott. Known for his iconic vocals and songwriting prowess, Elliott's impact over the decades has been substantial. Joe’s home studio, ‘Joe’s Garage’ is where the magic is captured and perfected – and AMS Neve were lucky enough to get behind the scenes with Joe and Def Leppard’s long-standing and immensely talented Live/Studio Engineer, Ronan McHugh.
Established in 1988, “Joe's Garage” was initially conceived as the intimate space for capturing the essence of Def Leppard's "Adrenalize" album. Today, this studio stands as a testament to decades of musical evolution and, as Joe describes a “fun place”.
Joe offers a firsthand glimpse into the Def Leppard's sound recording hub, adorned with gifts from rock legends such as Ronnie Wood and Gene Simmons, whilst sharing stories from the early days of Def Leppard and discussing the challenges faced when producing Hysteria, which went on to be one of the best-selling albums of all time.
With the Neve 8424 being the first analogue console since 1988, Ronan talks through the decision to go with not one but two 8424 consoles, the reasons why they shifted from working “in the box” back to working on an analogue console and shares his insight on the Def Leppard 8424 workflow.
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AMS Neve 8801 ADC Option
Regular price $790.00 Save $-790.00