Studio Logic Sound

Mic Pres - EQs - Compressors - Channel Strips - DIs - Gates

215

Discrete HP/LP Sweep Filter
Features
• Wide range 6 dB per octave LOPASS control
• Wide range 12 dB per octave HIPASS control
• Balanced input stage
• Passive filter design for smooth tone

• Unity gain throughout
• Hard Wire BYPASS switch
• Transformer Coupled Output to +28 dBu
• All Discrete Design

The API 215L is a unique passive, sweepable filter, designed specifically to contour the sound in such a way that it sounds natural and seems as if it "always sounded that way". Its extreme flexibility, repeatable settings and superb sound make it ideal for all studio, live sound and broadcast applications.

The 215L design is a passive low pass filter with a slope of only 6 dB per octave, and a passive dual hgh pass filter with a slope of 12 dB per octave. The filters are isolated from each other with the same discrete transistor buffer used in the famous 550 series equalizers. This minimizes interaction between the filters, as well as providing a low impedance source for the filter following the buffer.

The input section is a balanced circuit using the API 2510 all discrete op-amp, minimizing the loading effect on any device plugged into it. The output stage is a transformer balanced output, driven by the all discrete API 2520 op-amp.

The filters are both continuously adjustable, with a range from 20 Hz to 20 kHz in two bands. The low pass filter has a range from 500 Hz to 20 kHz, and the high pass filter has a range from 20 Hz to 600 Hz. This covers a broad range of frequencies throughout the eintire audio spectrum.

Because of the subtle nature of the 215L filter, it finds a home with uses like rolling off the low end of a hi-hat, where a natural sound is desired, not the usual "phase-shifter" sound of a 18 to 24 dB per octave filter found on most consoles. It can also be used to thin out room mics, without a complete loss of low end, again, resulting from steep filter circuits.

The 215L can be used in the Legacy Series Consoles or in the L200 Rack. The 215L Filter makes use of the 2520 and 2510 op-amps and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.

205

Discrete Direct Input
Features
• Wide range GAIN control
• Hi-Z input, like a Tube Amp
• Thin < > Fat TONE Control reduces low end mud
• BRIGHT Switch boosts the presence
• 20 dB PAD lowers the input level
• 100 K LOAD switch changes the tone of instruments
• 5 Segment LED Meter shows Output Level
• Transformer Coupled Output to +28 dBm
• All Discrete Design

The new API 205L Instrument Direct is specifically designed to accept a guitar or bass direct into it, without any loading on the pickups. With the use of the unique TONE control, the low end "mud" can be reduced. Turning on the BRIGHT switch adds clarity, like the bright switch on any amp. The combination of these two functions may eliminate the need for any EQ on the instrument when recording, keeping the signal pure.

The input is designed specifically to load a pickup the same way that a tube guitar amp would, retaining all of the tone, and minimizing the loading effect on the pickup. This minimal path eliminates the need to use a standard direct box, which more times than not, only converts the signal to a balanced mic level output, which still requires a mic input, equalizer, and fader to get the signal to a recordable level.

The 205L is capable of boosting any instrument to a hefty line level without additional amplifiers. With the 100 K LOAD switch, the tone of the pickup can be altered slightly, which tends to darken the high frequency content. The BRIGHT switch adds a treble boost in the same manner that most instrument amplifiers do, clarifying the instrument and adding presence to it without the need for outboard equalization. When inserting an instrument with an internal preamp or a line level instrument such as a sampler or a keyboard, the 205L has a 20 dB PAD switch to drop the level without loading, retaining the full range of the 205L and its features.

When used with other 200L series modules, a complete input strip can be built from input through dynamics, equalization, and final output. With the addition of the 201L fader module, the output level of the 205L can be adjusted so it is compatible with the input of any guitar amp. The artist can then be in the control room while the instrument amp is isolated in the studio.

The 205L Direct makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity characteristic of API products.

212

Discrete Mic Pre
Features
• Wide range GAIN control
• 20 dB Pad
• 48v Phantom Power Switch
• RE 115 K Mic input Transformer
• LED VU Meter
• Uses API 2520 Op-Amp
• All Discrete Circuit
• Transformer Coupled Inputs & Outputs to +28 dBu

The tone of the 212L mic preamp finds its roots in the classic API 2488 series all discrete recording consoles, best known for the famed "LA" sound. This same mic preamp design is packaged into a compact module with features like a continuously adjustable Gain control and a unique 5 segment LED VU meter on each panel.

An audio chain is only as strong as its weakest link. Often, emphasis is placed on obtaining the highest quality microphones, while neglecting the integrity of the mic preamp. The API 212L microphone pre-amplifier is an integral part of the famous Legacy Series Console and is now available for the L200 Rack System. This modular unit incorporates the same circuit as the legendary API 512b, thus preserving its sonic qualities. This mic-pre articulates high frequencies with great detail, while delivering the big sounding, warm bottom end that API is famous for. Whether it's a live performance or the private setting of a studio session, the 212L will capture every nuance of the moment.

The 212L mic-pre all discrete circuitry features the API 2520 op-amp, the RE 115 K input and the AP-2623 output transformer. A -20 dB pad is provided, allowing the level feeding the mic transformer to be reduced by 20 dB, while keeping the proper load on both the mic and transformer. 48V Phantom power can be locally switched on or off via the front panel switch. An LED VU meter provides a true VU indication of the mic pre output level. The low noise floor, together with a clip point over +28 dBm, makes this preamp suitable for the most extreme applications requiring the highest quality audio.

The 212L Microphone Preamplifier makes use of the 2520 op-amp and therefore exhibits the reliability, long life and uniformity which are characteristic of API products.

225

Discrete Channel Compressor
Features:
• Threshold control from -20 to +10 dBu
• Variable compression ratio from 0 to infinity
• Adjustable release time from 50m/sec to 3 sec
• "Old" or "New" sound
• HARD or SOFT compression knee
• Always at unity gain, regardless of settings
• LED Gain Reduction meter
• API 2510 and API 2520 op-amps
• Transformer output to +28 dBu

The API 225L Compressor is ideal for all studio, live sound and broadcast applications. Regardless of the threshold or ratio settings, the output level always remains at unity. This unique feature allows real-time adjustments without changing the output level. Both "feed forward" (new) and "feed back" (old) gain reduction methods are selectable on the front panel. There also is a SOFT or HARD selector for either an "over easy" compression resulting in a very natural, uncompressed sound or a typical sharp knee type that has a much more severe limiting effect. The 225L is designed for individual channel use or two units can be combined for Stereo applications via a rear access pin. The 225L also has a side chain input for the detector amplifier.

550b

Discrete 4 Band EQ

Features
• 4 bands of our famous sounding equalization
• Each band offers 7 API selected frequency centers
• Reciprocal and repeatable filtering
• 12 dB of boost/cut per band
• EQ Band 1 and 4 offer shelf/peak switching
• "Proportional Q" narrows filter Q at extremes
• Traditional API fully discrete circuit design
• High headroom +30 dB clip level
• Re-issue of 1967 API 550 EQ with an extra band

The API 550 EQ played a major part in the history of music recording in the USA during the 60's and 70's. Originally conceived for use in API's consoles, this latest 550 "B" version is a continuation of the original 1967 550 through the 550A with one additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 op-amp), the 550B artfully blends the past with the present. So many hit records still depend on the unique 550 sound, that the 550B will be an invaluable tool you will turn to again and again. The API 550B—unlike any other you will ever use.

Many EQ's today offer a huge assortment of complex features, but the API 550B provides exactly the right number of controls to the professional engineer. Deceptively simple at first glance, the 550B's four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device. Each band offers 7 switchable filter frequencies spanning 4 to 5 octaves, selected through experience by a "who's who" list of the industry's most proficient engineers. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.

Making use of "API Proportional-Q", a design introduced by API in the 60's, the 550B intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings—without the need for additional bandwidth controls. This feature minimizes the "phase-shift" sound found in many equalizers. The reciprocal nature of the 550B enables the user to "undo" what has been done previously.

The benefits of the API 550B are most obvious to those who work with EQ on a continuous basis. The 550B's ability to affect or reverse tonal modifications is perhaps the most important feature. If major tonal restructuring is required, the extraordinary headroom made possible with API's 2520 op-amp offers predictable and gentle "analog" performance under duress. With a surprisingly wide range of tonal variations, you can do no better than the API 550B.

560

Discrete 10 Band Graphic EQ
Features
• 10 bands of API proprietary equalization
• Familiar graphics operation on one octave centers
• 12 dB of boost/cut per band
• "Proportional Q" narrows filter Q at extremes
• Additional resolution within the ±4 region
• Center detent for reliable reset
• Traditional API fully discrete circuit design
• Silent bypass button
• Re-issue of the 1969 API 560 EQ

Originally conceived for use in API Consoles of the 60's and 70's, the API 560 re-issue is a unique device designed to accomplish tasks that no other EQ can do. It delivers that "one-of-a-kind" API sound, precision easy set filtering, and high headroom in a very small package. Extremely fast to set and reset using accurate zero detents, the curve shaping potential of the 560 is unmatched. At home both in field recording and the studio environment, this "new-old" version is a re-issue of the original 560 with improved resolution in the critical area of ±4 dB. Incorporating API's exclusive circuitry and proprietary components (such as the legendary 2520 op-amp), the re-issue of the 560 artfully blends the past with present—layout with function.

The API 560 was created to fit all appplications for the professional engineer. For most of the 70's and 80's, every remote recording console that API manufactured used this versitile graphic EQ. It is also ideal for studio and live sound applications, where a professional result is required. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.

The large number of available EQ bands make the 560 an ideal companion to parametric EQ, as well as ideal for signal sweetening and room tuning. Not lacking in features, the 560 makes use of API's unique "Proportional Q" design introduced by API in the 60's, intuitively widening the filter bandwidth at lower boost/cut levels and narrowing it at higher settings. In addition, boost and cut characteristics are identical, so previous actions can be undone.

The extraordinary headroom made possible with API's proprietary 2520 op-amp offers predictable and wonderful "analog" performance under duress. With a wider range of 500 mounting options, the 560 will be a valuable asset to your performance critical applications.

The 560 Graphic Equalizer makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products.

512c

Discrete Mic / Line Pre
Features
• Mic Preamp with 65 dB of gain
• Front and Back Panel Mic Input Access
• Line/Instrument Preamp with 50 dB of gain
• Front and Back Panel Line/Instrument Input
• LED VU meter for monitoring output level
• 20 dB pad switch, applies to mic/line/instrument
• 48v Phantom switchable power
• Traditional API fully discrete circuit design
• Uses the famous API 2520 Op-Amp

The API 512C is a mic/line/instrument preamp designed to provide a low noise, unusually good sounding front end for all types of audio systems. Sonically, it is at the top of the "Mic Preamp List", regardless of price. Offering low noise (-129 EIN) and 65 dB of gain, the 512C includes phantom power, switchable polarity, -20 dB pad and Mic/Line or Instrument selector. Front panel XLR and 1/4 inch connectors combined with rear panel mic access allows for additional flexibility when installed in an API LunchBox, Six Pack, 10 position vertical rack, a 2 position horizontal rack, or an API console.

What makes the API 512C unique is its long evolution from the original 1967 era 512, the first modular mic pre, to the current full featured 512C, while preserving the original sound character that made it so much a part of the early days of recording. Offering high headroom and a wide variety of inputs and input access ponts, it is ideal for unusual and demanding applications.

Imagine a situation where only a few preamps are needed, yet the smallest available console has a proportonally "small" mic preamp, making it useless for the demanding application, or conversely, imagine where you need a large number of preamps, and a console of sufficient inputs and quality would be too large to transport or rack mount. The 512C hits the spot with its quality and famous tone. Expand, combine or downsize at any time without trade-ins or product obsolescence. In addition, the 512C's sound and performance exceeds most "console mic pres" in every respect.

The beauty of the entire API 500 Series is its long term flexibility and lasting value when needs change over time. With a range of mounting frame options, the 512C will be a valuable asset to your performance critical applications.

The 512C Mic/Line Preamp makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products.

525

Discrete Compressor, Re-Issue
Features
• Reissue of API's original 525 from the early 70's
• Peak detecting "feedback" compressor/limiter
• Variable Threshold and Output levels
• Unique "Ceiling" control combines key functions
• VU meter for monitoring gain reduction
• 4 Switchable release modes
• De-Ess function
• Traditional API fully discrete circuit design
• Hardwire bypass

Originally released in the 70's, the API 525 is a "feedback" type compressor, such as the 1176 and 660, etc. An input (threshold) control and output (make-up gain) control are provided. An additional "Ceiling" fine tune function modifies threshold and make-up gain for precise changes in compression without changes in output. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/p-pop reduction. The 525 is an identical re-issue of one of the most popular API products ever.

The API 525 is perhaps the most successful solid state feedback compressor in history. It delivers dynamics control behavior unlike VCA "feed forward" compressors so common today. A remarkable multi-function "ceiling" control can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. This re-issue design has been taken from the original blue prints and spec control drawings from the API archives.

Release times vary with frequency, with high frequency/full bandwidth content released faster than just low frequency for natural envelope tracking. Attack time is fixed, chosen to catch the fastest peaks, without "pumping". Equally useful as a tracking, mixdown or program compressor/limiter, the benefits of the API 525 are most obvious to those who use compression on a regular basis. "Vintage" dynamics control, an easy to use multi-function control set, and a wide range of 500 Series mounting options assure that the 525 will surpass your most critical applications. With the addition of a hard-wire bypass switch, a balanced input, and a pinout that is the same as all the other 500 series modules, the 525 is still, after 25 years—"the sound". Two or more 525s can be linked for multi-channel compression.

The 525 Feedback Compressor/Limiter makes use of the 2510 and 2520 op-amps and therefore exhibits the reliability, long life, and uniformity which are characteristic of API products.

2500

Discrete 2 Channel Stereo Buss Compressor

Features:
• API 2520 op-amp
• Variable threshold between -20 and +10
• Selectable Ratio, Attack and Release times
• Patented "Thrust" high-pass filter before RMS detector
• Variable link between left and right channels
• Old "feed back" or new "feed forward" compression
• Soft, Medium or Hard Knee for easy to sharp compression
• Auto or manual gain make up
• 1/4" balanced side chain inputs
• Output clips at +30 dBm

The API 2500 is a versatile stereo bus compressor that allows adjustment of sonic qualities that can alter the punch and tone of the stereo mix. The 19" rack mountable unit features ATI's patented "thrust" circuit for a chest-hitting, punchy bottom end. With its dual channel design, the API 2500 is set up for stereo compression, but can also be used as two separate units via a single compression setting. The 2500 boasts a range of parameters that make it incredibly musical.

API pushes the envelope of flexibility further with selectable "old" or "new" compression. The old style uses the feedback type of compression found in the API 525, 1176 and Fairchild. The new style uses a feed forward type, similar to other popular compressors.

The output stage features API's auto-makeup gain button, permitting the user to vary the threshold or ratio while automatically maintaining a constant output level. Fidelity is ensured with an all-discrete, fully balanced design, and two front panel VU meters show input, output, and gain reduction levels.

7600

Discrete 4 Buss Channel Strip: 212, 550A and 225

Features:
• Complete API input strip with bussing
• API 2520 Op-Amp
• API 212L Mic Preamp, 225L Compressor
• Re-issue of the famed 550A EQ
• Four Aux sends, Pre or Post fader assignable
• Four busses
• Stereo bus with internal rotary fader
• Solo, SIP, Mute, Insert, Polarity, and Compressor Link
• Complete patching facilities on rear panel
• External fader jack
• Three 7 segment LED VU displays
• Output clips at +30 dBm

The API 7600 Input Module offers studios of all sizes a whole new range of options without sacrificing quality. The 7600 strip forms the basis of a build-as-you-need-it, high quality recording console. It is the perfect choice for project studios who want high performance console sound, but have limited channel needs or budget constraints, and professional studios that want to add more channels to their existing desk through the addition of a side car.

The API 7600 fits into one rack space unit and it includes a genuine API mic pre, a compressor and a real 550A EQ right out of the glory days of rock 'n roll. The 7600 mic pre is the same 212L mic pre used in the Legacy Consoles. The EQ is an exact re-issue of the famed 550A, offering 3 bands of EQ with 7 frequency choices per band. The compressor is the 225L, the same one found in the all-discrete Legacy Console currently in production.

The 7600 comes complete with an internal power supply, and is the basis for building a 4, 8, or 16 channel professional sounding API console.

7800

Discrete 4 Buss Console Master

Features
• Uses API 2520 Op-Amp
• Complete API Master Control Room Module
• Includes Solo Master, Talk Back, Send Masters, Bus Masters, Stereo Master, and Control Room Master
• Links several 7600 Input Modules
• Full Featured Control Room Section with 2-Track Monitoring and Large/Small Speaker Control
• All Inputs and Outputs on Rear Panel
• VU Meter Amplifiers for External Metering
• Perfect for Pro-Tools type Work Station Monitoring
• Output Clips at +30 dBm

API 7800 Rack Mounted Master Control Module is the final stage in the line of 7600 Input Modules linked together in a console configuration. The new API 7800 fits into one rack space unit. It includes summing amps for the echo sends, busses and stereo mix bus when linked up with the 7600 input module. The 7800 is available in either a Vertical or Horizontal configuration, depending on the custom needs of the user.

The new API 7800 fits into one 19" rack space unit. It includes summing amps for the four Echo Sends, four Track Busses and Stereo Mix Bus when linked up with the 7600 Input Module.

The 7800 is available either in a Horizontal or Vertical configuration, the only difference being the legends on the panel. Complete with internal power supply, the 7800 strip is the basis for building a 4 channel, 8 channel or even 16 channel professional sounding API console when used with the 7600.

This allows a studio to design a custom "side-car" console that can be used as extra inputs or as a portable "floating" console that can be moved from control room to control room. It can also be the basis for an extremely high quality 4 or 8+ channel console for remote recording applications, such as classical recordings or broadcast live remotes.

The 7800 includes the master controls for the Solo system, including PFL, SIP and level control. There are six 2-Track inputs, monitoring of the four Sends, and monitoring of the Stereo Bus. There are XLR outputs for the Stereo outputs as well as the Speaker amp inputs. All other outputs are on a D-sub, with a DA-88 type pinout. This is a professional Master section that can be used in any application requiring a Control Room controller.

For engineers/artists that are using a Pro Tools type of product, the 7800M is perfect for use as a Control Room Master without the summing amps and output controls for the Sends or Busses. It also provides eight 2-Track Inputs, Speaker controls, dim and a Stereo Output.

8200

Discrete 8 Channel Summing Mixer

Features:
• 8 Inputs
• 2 Aux Sends
• Level Control
• Pan
• Solo
• Mute
• Insert
• D-sub Interface

The 8200 8 Channel Line Mixer allows you to mix with genuine API circuitry. It works with the 7600 and 7800 to form a custom sized, easily expandable console configuration. The 8200 provides 8 inputs in one rack space and features a level control, a Panner and 2 Aux sends per channel. Each channel has a balanced input and conveniently switchable insert, Mute and Solo switches, making this the perfect mixer for any line level application. Requires a 7800 Master Controller.

L200

12 slot 200 Series Rack (requires L200PS)

Features:
• Holds 12 API Legacy L200 series modules
• XLR Jacks for Inputs and Outputs, Pin 2 Hot
• TT Jacks for side chain / Aux Out / Mic In, etc.
• Powered by API external L200PS Tri-Polar, 48v
• 100 to 250 volts 50/60 Hz AC, front panel LED
• 19" rack mount, 2U tall
• Sturdy, vented steel chassis

Designed with flexibility to meet the needs of the discriminating engineer/producer. Module interchangeability has always been an API standard and the L200 system follows the tradition. In fact, it is fully compatible with the units found in the industry standard API Legacy Series Consoles.

200h

4 slot 200 Series Rack with Power Supply

Features:
• Holds up to four 200L series modules
• Self powered, 100-250 VAC 50/60 Hz
• Linking switch for Channels 1/2 and 3/4
• Front panel power switches for DC and phantom power
• XLR In/Out with PIN 2 HOT, 1/4" side chain input
• Takes up only 1 unit of rack space

The 200H offers the same characteristics as the L200 except it holds 4 modules.

500h

2 slot Rack with built-in Power Supply

Features
• Holds 2 API Standard Format 5.25" X 1.5" Modules
• XLR Jacks for Inputs and Outputs
• 48 Volt Internal Phantom Power Supply
• Self-Powered, 115 or 250 Volts, 47 to 63 Hz
• 19" Rack Mount, 1U Tall
• Rugged Chassis
• Perfect for Outboard EQ / Mic Pre / Compressor Modules

The API Model 500H is powered internally by tri-polar power supplies and is designed to accept many different API standard format 5.25" X 1.5" modules. The 500H allows the user to design a custom channel strip for use in the studio or live performing.

The 500H comes internally wired, allowing easy installation of the 500H. Just insert the modules and begin working. Each 500 series module can be ordered with horizontal panels, to ensure ease of use. Insert a 512C mic preamp and a 550B EQ, and you can create the perfect input strip for recording or live use. Insert a pair of 550Bs or 560s and you have a stereo equalizer. Using the 525 compressors in the 500H is ideal for a stereo bus compressor, as the 500H has a linking feature for the 525s.

The 500H comes with an internal 48 volt phantom power supply, bussed to pin 15 for the API 512C to access. It must be noted that the older API 560A series equalizers used pin 15 for a "direct output" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.

API makes several modules to fit this rack, including the 550B, 560, 525, and 512C. These modules are designed to help expand existing limited input console configurations, allowing a facility an option to a larger console.

• Multitrack Recording of Acoustic and Electronic Audio Sources.
• Sound Reinforcement Systems and Recording Live to Multitrack formats.
• Multiple facility projects where portability is a concern.
• Broadcast and Audio for Video Production.
• Custom Channel Input Strips.
• ADAT Type Portable Recording Setups.

500v

10 slot Rack (requires L200PS)

Features
• Holds 10 API Standard Format 5.25" X 1.5" Modules
• XLR Jacks for Inputs and Outputs
• Pre Wired Rack
• Externally Powered
• 19" Rack Mount, 3U Tall
• Rugged Chassis
• Perfect for Outboard EQ / Mic Pre Modules

The API Model 500V is powered externally by a tri-polar power supply and is designed to accept many different API standard format 5.25" X 1.5" modules. The 500V comes internally wired for PIN 2 hot. An external dual 16 volt power supply can be used, or the API 200PS can be purchased. The input/output jacks are both XLRs. The 500V can hold up to ten API modules, regardless of the "era".

The 500V comes internally unwired, allowing a facility to wire the module inputs and outputs, nominal levels, and special interface functions to the rear panel XLR connectors. The rack is also available wired to any specifications.

The 500V can be ordered with an optional 48 volt phantom power supply, bussed to pin 15 for the API 512C to access. It must be noted that the older API 560A series equalizers used pin 15 for a "direct output" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers.

3124+

Discrete 4 Channel Mic/Line Pre, plus DI

Features
• Uses API 2520 Op-Amp
• Classic Console Circuit
• Four XLR Mic Inputs
• Four 1/4" Un-Balanced Inputs
• Front Panel Polarity Switch
• Front Panel 20 dB PadSwitch
• Front Panel Mic/Line Switch
• Front Panel 48V Power Switch
• Output Clips at +30 dBm

Both the 3124+ and the 3124M+ are designed with the professional engineer in mind, giving the highest possible quality 4 channel mic preamp and with the 3124M+, an audio mixer, while keeping the size and price at a reasonable level. Several 3124M+ mixers can be linked to increase the number of bussed channels. Both models are equally at home in the control room, the studio, and news or recording truck, at the house console, on the stage, direct-to-DAT, or at the artist's disposal for the source of his music.

The model 3124+ utilizes the same microphone preamp circuit that is used in all API consoles. It uses the RE-115 K mic input transformer and the same output transformer that is used in all API equalizers. All four mic inputs of the 3124+ and the 3124M+ are powered by an internal 48 volt phantom power supply, front panel switchable for each channel. Also provided is a front panel 20 dB pad switch that effects both the Mic and Line in.

The model 3124+ can provide up to 65 dB of gain to an output clip level of +30 dBm. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can take input levels as high as +22, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.

The model 3124M+ is a 3124+ with the addition of a complete stereo mixer. In conjunction with the gain control of the 3124+, the 3124M+ adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique aux return pot acts like a panner to balance the left/right signal, yet staying stereo. It can also be used as a mono return. A standard 3124+ can be further expanded to an "m" at the factory. Several options for the "M" include a discrete unbalanced stereo output or a discrete balanced stereo output.

3124 mb+

3124+, w/ Stereo Mixer plus Transformer Bal Outputs

5006b

6 slot Lunchbox with built-in Power Supply

Features
• Holds 6 API Standard Modules
• Jumpers Set Input & Output Nominal Levels (-2 or +4)
• Long Frame/TT or XLR Jacks Available
• 48 Volt Internal Phantom Power Supply
• Self-Powered, 100 to 250 Volts, 47 to 63 Hz, Switchable
• Rubber Feet & Carrying Handle for Portability
• Rugged Steel Chassis
• Perfect for Vocalist's "Instrument" and Remote Recording

The API Model 500-6B six position rack is designed to accept many different API "standard" 5.25" X 1.5" modules. This allows an engineer the flexibility of bringing along specialized EQ effects to any situation. The 500-6B comes self-powered, with a rear panel selected AC voltage switch, and a non-removable power cord. The input/output jacks are the two standard patch-bay jacks found in every professional recording console; large frame 1/4" or the "TT" style smaller jack. In addition, the 500-6B is available with XLR jacks. This eliminates the need for special adaptors and custom cables.

The 500-6B comes with "nominal level" jumpers located on the connector board. Although it comes factory set at +4, the levels for either the input and/or the output can be changed to -2. This can be accomplished easily by using needle-nose pliers. Instructions are printed on the connector board for the nominal selections. Extra jumpers are also supplied and attached to the connector board just in case a channel jumper gets lost.

The 500-6B comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for the API 512C to access. It must be noted that the 560A series equalizer may use pin 15 for a "direct output" and must be disabled on the 560A circuit board edge connector by cutting a trace. This will eliminate 48 volts from damaging the 560A series equalizers. If in doubt, feel free to contact the factory.

API makes several modules for the 500-6B, such as the 512C mic preamp, the 525 compressor, the 560 Graphic EQ, and the 550B four band EQ. Combinations of these modules make perfect stereo recording packages (two 513C's and two 550B's) or vocalist's box, (one 512C, two EQ's and one 525 compressor).

8mx2

ATI's powerful 8 X 2 X 8 Mixer / Mic Pre

Features:
• 8/2/8 Mixer
• 8 Line Level Multi-Track Returns
• 8 into 2 Mix Bus with Pan
• 10 Segment input/mix LED meter
• 10 Segment gain reduction meter
• Headphone and speaker monitor out
• 8 channels in 1u rack space
• Link multiple units
Each channel includes:
• 48v Hi-voltage MicPre
• Threshold Limiter
• Direct Out
• Selectable 48v Phantom Power

The 8MX2 rack mount preamp/mixer is perfect for remote recording, live broadcast feeds, studio "sidecar" inputs, and all critical digital recording formats.