System-500 Components

A-Designs new 500 Series EM-PEQ module sonically nods to the classic Pultec EQP-1A sound. The classic all-tube Pultec EQP-1A goes down on the record books as one of the most venerated equalizers of all time, cherished by recording and mastering engineers for its almost mythical ability to improve the sound of just about anything running through it. Finally, after much research and development, A-Designs Audio announces that it has managed to capture much of the essence of the famed EQ in a new product – and one that fits in a compact 500 Series module frame size, no less! Dubbed the EM-PEQ, A-Designs Audio was able to ‘shrink’ this highly sought after filter design into the now red-hot 500 Series format without compromise to either build quality or sonics. The EQ section design and control layout of the classic EQP-1A has been meticulously maintained, as well as its wonderfully smooth musicality. Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s popular solid-state Pacifica mic pre, putting a slightly unique twist on the classic design of yesteryear. Additional features include a nickel core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard bypass. Instead of using common off-the-shelf chokes, A-Designs uses a custom-wound tapped inductor wound to the original values. Fully balanced, noise-free operation with modern impedance specs make for dummy- proof operation and fast studio integration. The EM-PEQ requires 48v to operate. The new EM-PEQ is an approved API™ ‘VPR Alliance’ product and may also be used in Brent Averill Enterprises racks and A-Designs Audio’s 500 HR. With last year’s launches of the P-1 and EM-Series preamplifiers (EM-Red, EM-Blue, EM-Silver, and EM-Gold), A- Designs Audio is fast becoming a leader in all things 500 Series. The blend of classic sound and modern function offered by the new EM-PEQ is further proof of a company on the rise, putting quality and creative design above all else. WARNING: Do not 'Hot Plug' any 500 Series unit. You may damage the unit. Make sure your Phantom Power is off and your Power Supply is off BEFORE you install. Download Recall Sheet Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.

500 SERIES MODULES AND HR-500 POWERED RACK500-Series compatible, application-specific microphone preamplifiers plus 500-Series Pultec-style EQThe A-Designs Audio 500 Series comprises the four 500 series-compatible preamps, including the P-1, EM-Blue, EM-Silver, EM-Gold, and EM-Red, each specially voiced with a specific task or sound in mind. Also a highly respected member of this exclusive family is the EM-PEQ, a Pultec-style equalizer designed to bring the sonic dessert to your lunchbox. These units are not only a perfect fit for an API “lunchbox” physically, they also meet the precise power rating requirements necessary to function perfectly from the moment you plug them in.* To further guarantee that your A-Designs 500 modules work out of the box, A-Designs is one of a very few manufacturers that make their own 500-Series powered rack: the A-Designs Audio 500HR.Custom transformers—the secret of A-Designs 500 series soundIn order to achieve the quality of sound that brings a smile to your ears, a profound understanding of electronic components and how their inherent qualities affect sound is essential. Transformers hold a singular position in circuit design due to their ability to affect timbral quality. Apart from the utilitarian task of electronic isolation for noise-free operation, the alloys used for the transformer’s winding along with the number of windings, will impart a distinct sonic quality. For example, nickel-wound transformers provide a more transparent sound with an airy high end, while steel can impart a thick “Neve-like” midrange or low-end “API growl.”To give each preamp in the A-Designs Audio EM-Series its own unique character, each has custom-wound transformers that employ proprietary A-Designs alloys that have been ear-tested to produce just the right sound for the right application. But that doesn’t mean that the EM-Series preamps are one-trick ponies—far from it. What it does mean is that decades of collective experience between A-Designs Audio and highly respected audio professionals who beta test A-Designs products have taken guesswork out of finding the right preamp for the job. Think of each of the EM series preamps as the ruler of a specific domain in the frequency spectrum. For example, the EM-Silver rules the lower frequencies thanks to its steel-wound transformer, making it a perfect choice for bass or kick drum, while the EM-Blue’s nickel transformer provides the clarity and highs needed to bring out the “crack” on snare drums.With various combinations of EM-Series modules you can create a lunchbox dedicated to recording drums, channel strips with Pultec-style EQ, or simply have a preamp for all seasons in one convenient location.Let A-Designs Audio’s EM-Series 500 modules be to be your guide to a world of color and sound that will inspire both you and your recordings. P-1The P-1 has the highest fidelity of all the A-Designs Audio 500 preamps, capturing the mojo of its older and larger sibling, the extremely popular Pacifica. While not an exact replica, it sounds as close to Pacifica as is possible for its smaller size. It has a big low end, slightly forward midrange, and extended highs. If you’re a fan of Quad Eight or API, you’ll love the A-Designs Audio P-1.The P-1 shines on vocals, instruments, room mics, piano, and on instruments with sharp transients, such as drums and various percussion instruments. And if you’re building a lunchbox with drum recording in mind, a pair of P-1s is a superb choice for overheads when you want to capture the entire kit along with the sizzle of the cymbals.EM-BlueEquipped with a nickel custom-wound output transformer for accentuated highs, the EM-Blue is the brightest sounding of the EM Series. It produces a much more airy, top-end-present tone than its EM-Series brothers and sisters.Many aspects of recording can be counter-intuitive, and in many cases, you’ll want to pair opposites. For example, when used with a dark-sounding microphone or an alto vocalist, the brighter EM-Blue can produce a heavenly sound. You will also find this pre useful for providing a crisp “crack” when recording a snare drum. And if you use the DI you just might fall in love with what an electric guitar sounds like going thru its nickel transformers. As with all of A-Designs’ 500-Series preamps, the EM-Blue has a -20dB pad that enables you to get down and dirty with an electric guitar. Just switch in the pad and crank the gain for a slight growl.EM-RedThe A-Designs Audio EM-Red is the “mid-forward” preamp of the EM family. Its sound derives from the combination of an A-Designs proprietary input transformer featuring a unique winding, and a 50/50 steel/nickel-wound output transformer (also a proprietary A-Designs alloy). The EM-Red has the extra kick you need when you have a mic that lacks present mids (such as the mid-scooped Chinese capsules), or if you want to bring an instrument forward in the mix.The upfront mids of the EM-Red make it ideal for drums, guitar, bass guitar, and acoustic instruments. In fact, you will find the EM-Red particularly useful when recording acoustic guitar with a condenser microphone. It’s also great for bringing out the resonance and character of rack toms and floor toms.EM-SilverThe A-Designs Audio EM-Silver has a darker tone than the P-1, EM-Red, and EM-Blue. Its sound is based on a custom-wound steel output transformer, which makes it an excellent match for ribbon microphones since steel transformers were widely used in the early days of recording and broadcast. It was the combination of steel transformer and ribbon mic that gave broadcasters and singers that “voice of god” sound that has defined vocal recording and the amplified spoken word for decades.The EM-Silver is a great preamp for bass guitar and keyboards. And in the world of percussion, it’s a great choice for kick drum. For brighter sound sources, the EM-Silver is the preamp of choice when you want less top end or a vintage-type sound. For a true vintage sound, use the EM-Silver with ribbon mics, or on modern, brighter condensers to smooth out top end. If you like vintage Neve, you’ll love the EM-Silver.EM-GoldThe EM-Gold’s combination of EM-Silver and EM-Red transformers make for the perfect sounding floor tom. It’s also the preamp you should reach for when you want that speaker-moving, low-mid thump from heavy guitars. The EM-Gold is ideal for fattening up thin-sounding sources; on mics lacking low mids or upper bass warmth; and mid transients, such as percussion and drums. It also shines on vocals, bass, and even drum machines. If you’re going to move air (the secret of a big sound), go for the Gold—the A-Designs Audio EM-Gold.EM-PEQ 500-Series Compatible EqualizerA 500-Series module that captures the essence of the classic Pultec EQP-1A soundOne of the most venerated equalizers of all time, the all-tube Pultec EQP-1A has been cherished by recording and mastering engineers for its almost magical ability to improve the sound of nearly any signal running through it. Now, after considerable research and development, the A-Designs Audio EM-PEQ has captured the essence of the highly revered Pultec EQP-1A and placed it in the compact and popular 500-Series form*—with no compromise in sonics or build quality.Along with modern performance enhancements, the A-Designs Audio EM-PEQ meticulously maintains the EQ-section design and control layout of the original Pultec EQP-1A, as well as its wonderfully smooth musicality. It also has the same frequency settings and inductors that made the Pultec a must-have for capturing the bottom end. Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s immensely popular solid-state Pacifica mic preamp—putting a slightly unique and modern twist on the classic design of yesteryear.The EM-PEQ’s controls attenuate high band at 5k, 10k, 20kHz; vary bandwidth AND boost mid to high band at 3k, 4k, 5k, 6k, 10k, 12k, 16kHz; and boost or attenuate the low band at 20Hz, 30Hz, 60Hz, or 100Hz. Boost and attenuation range from 0dB to ±10dB.Additional features of the EM-PEQ include a nickel-core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard-wired bypass. Plus, instead of using common off-the-shelf chokes, A-Designs uses a custom tapped inductor, wound to the original values as the original Pultec. Along with the classic EQ circuitry, layout, and exceptionally musical sound of the classic Pultec, the EM-PEQ offers fully balanced, noise-free performance and modern impedance specs for easy operation and fast studio integration.In the world of pro audio recording, there are two types of equalizers: those that you don’t want to hear in action (“surgical or corrective EQ), and those that you do (“color, or character” EQ). The EM-PEQ is one you most definitely do. Unlike any other 500-Series equalizer, the A-Designs EM-PEQ sits on the extreme end of the “character” bench. It focuses on “correcting” that which cannot be fixed by so-called surgical EQs: the enhancement of tone and musicality.The EM-PEQ is also available as the EM-EQ2, a 2-channel, 2U rackmount version offered at the same price as two EM-PEQs and a 500HR power rack. Whether you prefer to work with the 500-Series form factor or standard rackmount format, both the EM-PEQ and EM-EQ2 are identical in both sound quality and functionality.* The EM-PEQ is an approved API™ VPR Alliance product and may also be used in Brent Averill Enterprises racks, and the 2-bay A-Designs Audio’s 500 HR power supply/rack. The EM-PEQ requires 48V to operate. Please check your power rack for this feature before purchasing an EM-PEQ.EM-PEQ FEATURES:• The first and only Pultec-style equalizer in the 500-Series format• Three-band EQ with the same control layout as original Pultec• Fully balanced, noise-free performance and modern impedance specs• Same frequency settings and inductors as original Pultec make it a must-have for capturing bottom end• Excels at tracking, mixing and mastering—a truly magical EQ!• Perfectly compatible with API lunchbox (or A-Designs 500HR rack)• True hard-wired bypass • A-Designs proprietary-wound tapped Inductor• A-Designs proprietary nickel alloy output transformer• Quick and easy studio integration• Wima capacitors

500 SERIES MODULES AND HR-500 POWERED RACK500-Series compatible, application-specific microphone preamplifiers plus 500-Series Pultec-style EQThe A-Designs Audio 500 Series comprises the four 500 series-compatible preamps, including the P-1, EM-Blue, EM-Silver, EM-Gold, and EM-Red, each specially voiced with a specific task or sound in mind. Also a highly respected member of this exclusive family is the EM-PEQ, a Pultec-style equalizer designed to bring the sonic dessert to your lunchbox. These units are not only a perfect fit for an API “lunchbox” physically, they also meet the precise power rating requirements necessary to function perfectly from the moment you plug them in.* To further guarantee that your A-Designs 500 modules work out of the box, A-Designs is one of a very few manufacturers that make their own 500-Series powered rack: the A-Designs Audio 500HR.Custom transformers—the secret of A-Designs 500 series soundIn order to achieve the quality of sound that brings a smile to your ears, a profound understanding of electronic components and how their inherent qualities affect sound is essential. Transformers hold a singular position in circuit design due to their ability to affect timbral quality. Apart from the utilitarian task of electronic isolation for noise-free operation, the alloys used for the transformer’s winding along with the number of windings, will impart a distinct sonic quality. For example, nickel-wound transformers provide a more transparent sound with an airy high end, while steel can impart a thick “Neve-like” midrange or low-end “API growl.”To give each preamp in the A-Designs Audio EM-Series its own unique character, each has custom-wound transformers that employ proprietary A-Designs alloys that have been ear-tested to produce just the right sound for the right application. But that doesn’t mean that the EM-Series preamps are one-trick ponies—far from it. What it does mean is that decades of collective experience between A-Designs Audio and highly respected audio professionals who beta test A-Designs products have taken guesswork out of finding the right preamp for the job. Think of each of the EM series preamps as the ruler of a specific domain in the frequency spectrum. For example, the EM-Silver rules the lower frequencies thanks to its steel-wound transformer, making it a perfect choice for bass or kick drum, while the EM-Blue’s nickel transformer provides the clarity and highs needed to bring out the “crack” on snare drums.With various combinations of EM-Series modules you can create a lunchbox dedicated to recording drums, channel strips with Pultec-style EQ, or simply have a preamp for all seasons in one convenient location.Let A-Designs Audio’s EM-Series 500 modules be to be your guide to a world of color and sound that will inspire both you and your recordings. P-1The P-1 has the highest fidelity of all the A-Designs Audio 500 preamps, capturing the mojo of its older and larger sibling, the extremely popular Pacifica. While not an exact replica, it sounds as close to Pacifica as is possible for its smaller size. It has a big low end, slightly forward midrange, and extended highs. If you’re a fan of Quad Eight or API, you’ll love the A-Designs Audio P-1.The P-1 shines on vocals, instruments, room mics, piano, and on instruments with sharp transients, such as drums and various percussion instruments. And if you’re building a lunchbox with drum recording in mind, a pair of P-1s is a superb choice for overheads when you want to capture the entire kit along with the sizzle of the cymbals.EM-BlueEquipped with a nickel custom-wound output transformer for accentuated highs, the EM-Blue is the brightest sounding of the EM Series. It produces a much more airy, top-end-present tone than its EM-Series brothers and sisters.Many aspects of recording can be counter-intuitive, and in many cases, you’ll want to pair opposites. For example, when used with a dark-sounding microphone or an alto vocalist, the brighter EM-Blue can produce a heavenly sound. You will also find this pre useful for providing a crisp “crack” when recording a snare drum. And if you use the DI you just might fall in love with what an electric guitar sounds like going thru its nickel transformers. As with all of A-Designs’ 500-Series preamps, the EM-Blue has a -20dB pad that enables you to get down and dirty with an electric guitar. Just switch in the pad and crank the gain for a slight growl.EM-RedThe A-Designs Audio EM-Red is the “mid-forward” preamp of the EM family. Its sound derives from the combination of an A-Designs proprietary input transformer featuring a unique winding, and a 50/50 steel/nickel-wound output transformer (also a proprietary A-Designs alloy). The EM-Red has the extra kick you need when you have a mic that lacks present mids (such as the mid-scooped Chinese capsules), or if you want to bring an instrument forward in the mix.The upfront mids of the EM-Red make it ideal for drums, guitar, bass guitar, and acoustic instruments. In fact, you will find the EM-Red particularly useful when recording acoustic guitar with a condenser microphone. It’s also great for bringing out the resonance and character of rack toms and floor toms.EM-SilverThe A-Designs Audio EM-Silver has a darker tone than the P-1, EM-Red, and EM-Blue. Its sound is based on a custom-wound steel output transformer, which makes it an excellent match for ribbon microphones since steel transformers were widely used in the early days of recording and broadcast. It was the combination of steel transformer and ribbon mic that gave broadcasters and singers that “voice of god” sound that has defined vocal recording and the amplified spoken word for decades.The EM-Silver is a great preamp for bass guitar and keyboards. And in the world of percussion, it’s a great choice for kick drum. For brighter sound sources, the EM-Silver is the preamp of choice when you want less top end or a vintage-type sound. For a true vintage sound, use the EM-Silver with ribbon mics, or on modern, brighter condensers to smooth out top end. If you like vintage Neve, you’ll love the EM-Silver.EM-GoldThe EM-Gold’s combination of EM-Silver and EM-Red transformers make for the perfect sounding floor tom. It’s also the preamp you should reach for when you want that speaker-moving, low-mid thump from heavy guitars. The EM-Gold is ideal for fattening up thin-sounding sources; on mics lacking low mids or upper bass warmth; and mid transients, such as percussion and drums. It also shines on vocals, bass, and even drum machines. If you’re going to move air (the secret of a big sound), go for the Gold—the A-Designs Audio EM-Gold.EM-PEQ 500-Series Compatible EqualizerA 500-Series module that captures the essence of the classic Pultec EQP-1A soundOne of the most venerated equalizers of all time, the all-tube Pultec EQP-1A has been cherished by recording and mastering engineers for its almost magical ability to improve the sound of nearly any signal running through it. Now, after considerable research and development, the A-Designs Audio EM-PEQ has captured the essence of the highly revered Pultec EQP-1A and placed it in the compact and popular 500-Series form*—with no compromise in sonics or build quality.Along with modern performance enhancements, the A-Designs Audio EM-PEQ meticulously maintains the EQ-section design and control layout of the original Pultec EQP-1A, as well as its wonderfully smooth musicality. It also has the same frequency settings and inductors that made the Pultec a must-have for capturing the bottom end. Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio’s immensely popular solid-state Pacifica mic preamp—putting a slightly unique and modern twist on the classic design of yesteryear.The EM-PEQ’s controls attenuate high band at 5k, 10k, 20kHz; vary bandwidth AND boost mid to high band at 3k, 4k, 5k, 6k, 10k, 12k, 16kHz; and boost or attenuate the low band at 20Hz, 30Hz, 60Hz, or 100Hz. Boost and attenuation range from 0dB to ±10dB.Additional features of the EM-PEQ include a nickel-core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard-wired bypass. Plus, instead of using common off-the-shelf chokes, A-Designs uses a custom tapped inductor, wound to the original values as the original Pultec. Along with the classic EQ circuitry, layout, and exceptionally musical sound of the classic Pultec, the EM-PEQ offers fully balanced, noise-free performance and modern impedance specs for easy operation and fast studio integration.In the world of pro audio recording, there are two types of equalizers: those that you don’t want to hear in action (“surgical or corrective EQ), and those that you do (“color, or character” EQ). The EM-PEQ is one you most definitely do. Unlike any other 500-Series equalizer, the A-Designs EM-PEQ sits on the extreme end of the “character” bench. It focuses on “correcting” that which cannot be fixed by so-called surgical EQs: the enhancement of tone and musicality.The EM-PEQ is also available as the EM-EQ2, a 2-channel, 2U rackmount version offered at the same price as two EM-PEQs and a 500HR power rack. Whether you prefer to work with the 500-Series form factor or standard rackmount format, both the EM-PEQ and EM-EQ2 are identical in both sound quality and functionality.* The EM-PEQ is an approved API™ VPR Alliance product and may also be used in Brent Averill Enterprises racks, and the 2-bay A-Designs Audio’s 500 HR power supply/rack. The EM-PEQ requires 48V to operate. Please check your power rack for this feature before purchasing an EM-PEQ.EM-PEQ FEATURES:• The first and only Pultec-style equalizer in the 500-Series format• Three-band EQ with the same control layout as original Pultec• Fully balanced, noise-free performance and modern impedance specs• Same frequency settings and inductors as original Pultec make it a must-have for capturing bottom end• Excels at tracking, mixing and mastering—a truly magical EQ!• Perfectly compatible with API lunchbox (or A-Designs 500HR rack)• True hard-wired bypass • A-Designs proprietary-wound tapped Inductor• A-Designs proprietary nickel alloy output transformer• Quick and easy studio integration• Wima capacitors

AEA RPQ500 Module The RPQ500 module, designed after the successful RPQ preamp, provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, in a 500 series package. The RPQ500 has been enhanced with additional features, turning it into a workhorse tool for your API 500 compatible rack. The preamp delivers the bandwidth and quietness needed for high resolution recording. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The input impedance of 10,000 Ω means the RPQ500 will not load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance.  The CurveShaper™ offers a natural option for sculpting your sound right at the start of the signal path. Switchable and tunable low frequency (LF) and high frequency (HF) controls allow you to tame proximity problems and provide HF extension and slope control. The high-frequency CurveShaper™ excels at adding a touch of air or presence, and the low-frequency control can remove boxiness and boominess in a fast and unobtrusive way. The bottom line is a versatile channel strip that will deliver an unadulterated performance in any application. The Line/Mic switch bypasses the microphone gain stage and allows the EQ to be used for tracking with other preamps or during mixdown. Add the output level control and the RPQ500 becomes a high-quality processing tool that can be used for mixing and mastering when combined with summing racks and mixers such as the Purple Audio Moiyn or the Roll Music Folcrom.  The original RPQ with CurveShaper™ was designed to fully capture every nuance of ribbon microphones: vintage or modern, passive or phantom-powered. Engineers have discovered that the RPQ also complements their moving coil, tube and solid-state mics. By virtue of its sonic qualities and versatility, the AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is needed.   Link: Wes Dooley, founder of AEA, talks about Studio Mic Pre Standards in the 50's

The RPQ503 is the next evolution in AEA's proven line of high-impedance, high-gain preamplifiers. Based on the third-generation circuit design of our renowned RPQ3, the RPQ503 brings the same rich, natural sound to the 500 Series format. It features a powerful combination of ultra-low-noise, low-distortion op amps, extremely high input impedance of 68 kΩ, and 85 dB of clean gain—delivering exceptional clarity and detail.

Like all AEA products, the TRP500 is entirely handcrafted in Pasadena, California using carefully selected locally sourced components. Every unit is assembled with a strong emphasis on precision, reliability, and long-term performance, reflecting AEA’s dedication to high-end professional audio manufacturing. AEA remains a family-owned company with a close-knit team of highly skilled technicians and engineers, many of whom are active musicians themselves. This direct connection to music and recording culture plays an important role in the company’s product philosophy and attention to sonic detail. The handcrafted production process allows AEA to maintain strict quality control standards throughout every stage of manufacturing. Each TRP500 is individually tested to ensure consistent performance, low noise operation, and the transparent sound quality expected from professional recording equipment. By combining traditional craftsmanship with modern engineering techniques, AEA has established a reputation for producing premium ribbon microphone systems and studio electronics trusted by recording engineers worldwide. The TRP500 reflects this heritage by delivering professional-grade build quality and carefully engineered audio performance in a compact 500 Series format designed for modern studio workflows.

LunchboxTM... meet (another) Legend. 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. The first choice of countless leading producers and artists, the 1073 delivers the unique Neve sound featured on many of the most famous recordings of the past 40 years. The big, punchy sound of the 1073 classic complements any musical genre – from rock to pop, hip hop to rap, thrash to classical. And now the EQ section of that classic unit is available for your LunchboxTM.Crafted in England by Neve engineers, the 1073LBEQ mono EQ module retains the unique sonic characteristics of the original 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 like a signal presence LED and Neve’s cleverAudio Processing Insert design, the 1073LBEQ takes your LunchboxTM to the next level. Simply install into an empty slot in your compatible LunchboxTM 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 1073 classic audio path. Revolutionary. Highlights 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 LunchboxTM) Fully screened module, packaged in Mu-metal case helps eliminate stray electromagnetic fields from LunchboxTM PSU or other module types   Achtung: Der Stromverbrauch dieser Module ist so groß, dass wir nur empfehlen, die Module in einer 6er API Lunchbox und den BAE Lunchboxen zu verwenden. Eine API VPR damit komplett zu bestücken schafft die PSU nicht. Leider funktionieren die Module im A-Designs 500HR auch nicht.  

Launched in 1970, the 1073 is the first choice of leading producers and artists, delivering the unique Neve sound on some of the most famous recordings of the past 40 years. The big, punchy sound of the 1073 complements any musical genre – from rock to pop, hip-hop to rap, thrash to classical. And now it is available for your LunchboxTM Designed and manufactured in England, the 1073LB retains the unique sonic characteristics of the original 1073 Classic microphone preamplifier by using the same architecture, matching components and original hand-wound transformers. And it delivers it in a modern and portable form-factor that professional producers and engineers demand. With new features like a fine TRIM control, switchable microphone input impedance, signal presence LED, intelligent protected switching of front combi-XLR input connector and Neve's clever Audio Processing Input design, the 1073LB takes your LunchboxTM to the next level. Simply install into an empty slot in your compatible LunchboxTM rack, connect your microphone or line level signals and inject that legendary sound into your audio creations. Highlights Classic transformer microphone preamp amp (Class A design)  Neve designed hand-wound transformers  Both Mic and Line inputs are transformer balanced and earth free Gain knob with Signal Presence LED +5/-10dB 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 modules in same LunchboxTM 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) Freq Response: ±0.5dB 20Hz to 20kHz, -3dB at 40kHz Crafted in England by Neve engineers Achtung: Der Stromverbrauch dieser Module ist so groß, dass wir nur empfehlen, die Module in einer 6er API Lunchbox und den BAE Lunchboxen zu verwenden. Eine API VPR damit komplett zu bestücken schafft die PSU nicht. Leider funktionieren die Module im A-Designs 500HR auch nicht.

The Neve 88R LBC is a 500-series compressor/limiter that brings the legendary dynamics of the flagship 88RS console into a compact and affordable module. Designed and built in England, the 88R LBC delivers the unmistakable Neve sound, precise control, and the world-class performance of the industry’s leading large-format console—now accessible to today’s audio engineers in a modern 500-rack environment.

The Neve 88RS Console EQ is the result of decades of equalizer development for Neve’s flagship consoles. Used in many of the world’s leading studios, the 88RS EQ is renowned for its musical precision, flexibility, and control. Designed to deliver both broad tonal shaping and detailed corrective equalization, it remains a cornerstone of modern professional recording and mixing workflows.

The sound of greatness in the palm of your hand When the world’s top musicians, composers and engineers get together to record, it’s got to be Neve all the way. Not everyone has room for the world’s greatest recording console - the Neve 88RS – but now there’s no need to settle for anything other than the absolute best when it comes to capturing the beauty, energy and excitement of your recording… Introducing the Neve 88RLB - the same sound of greatness, but in the palm of your hand. The incredible sounding audio technology from Neve’s two-ton flagship 88RS console is now available to you in a 500-series format module. With extra features like the REGenerate function, a sweepable high-pass filter, intelligent phantom power control and a DI input, true Neve magic has never been more accessible or convenient. Neve - No Question.   True Neve 88RS mic preamp in a 500-series format, with transformer-coupled Mic input, electronically balanced Line and DI inputs and Line output REGeneration feature allows Line and DI inputs to be fed through the Mic input transformer to inject the legendary Neve sound Sweepable high pass filter can be switched in or out Intelligent 48v phantom power function -20dB pad and phase reversal features for Mic, Line & DI inputs Signal Presence LED illuminates green from a level of -25dB and red from a level of +26dB Front combi-XLR connector for Mic input (XLR) and Line & DI inputs (1/4” TRS jack - LIFT switch eliminates potential ground loops when using jack connectors in the front input

The AMS RMX16 was the world’s first microprocessor-controlled, full-bandwidth digital reverberator and characterized enormous numbers of seminal recordings from the 1980s onwards. It has remained an essential piece for any self-respecting studio ever since, and units sell today for a substantial proportion of their original cost due to great desirability. Designed from the outset to be musical rather than simply implementing mathematical algorithms, each program was tuned and re-tuned to provide as wide a “sweet-spot” of settings as possible by means of “carpet graph” parameter tables, interactively linked control by control. It was designed by ear over an extended period of time and from first principles and this is what has made it a classic. Despite its longevity, there is little more any present-day design could better and its sound is unique and instantly recognisable. Now available in a 500 series format, the sound once available only to premier studios is now on tap for a much wider user base. In addition to the 9 standard programs, there are 9 aftermarket programs available to RMX16 users via the unique and now elusive remote control. These 9 extra programs are included in the AMS RMX 16 500 Series Digital Reverb Module. Features: An 18kHz bandwidth, allowing it to also be used as a high quality digital delay line. 90dB dynamic range and 0.03% distortion in delay mode. Adjustable input and output levels for optimum signal to noise performance. Low power consumption (and therefore cool running). Independent control of each program’s fundamental reverberant parameters. Nudge Buttons to increment or decrement data for all selectable reverberation functions. Alphanumeric program descriptions for ease of use when storing or recalling information for the unit’s memory. New rotary push encoder enabling all parameters and settings to be adjusted by ear. New wet/dry mix blend function. New save/recall feature with 100 user-defined memory slots.

Features API's Classic 312 Microphone Preamp in a 500 Series module Vintage Style Analog VU Meter Maximum 69dB of gain Traditional API fully discrete circuit design with 2520 Op Amp Proprietary AP2516 Input Transformer 20 dB pad switch 3:1 Output Transformer Tap Selection Switchable 48V phantom power Peak LED

10 slot Rack with Power SupplyThe API Model 500VPR is powered externally by a tri-polar power supply and is designed to accept API standard format 5.25" X 1.5" modules. The 500VPR is internally wired for PIN 2 hot, and comes with the API L200PS. The input/output jacks are both XLRs. The 500VPR can hold up to ten API modules. API makes several modules to fit this rack, including the 550A, 550b, 560, 525, and 512c. Like all API products, the 500VPR rack enjoys API's standard 5 year warranty.Specifications:Size:     19" X 5.5" X 7.5" DeepSize (Boxed for Shipping):     22" X 10.5" X 16"Actual Weight:     7.62 lbs.Shipping Weight:     10.86 lbs.

API 505 DI Direct Input Like the console-based API 205L, the 505-DI is specifically designed to accept a guitar, bass or keyboard direct input while minimizing any loading effect on Hi-Z instrument pickups. Additionally, the 505-DI's Gain Control is used to normalize an instrument's input level, up to a +4 dBu output level. API's unique TONE control reduces potential low end "mud" in the signal, while turning on the BRIGHT switch adds additional clarity if desired. The various combinations of TONE and BRIGHT controls can eliminate the need for any EQ on the instrument while recording, keeping the signal path short and pure. This minimal signal path eliminates the need to use a standard direct box, which many times still requires a mic input, equalizer, and a fader to get the signal to a recordable level. The 505-DI is capable of boosting any instrument to a hefty line level without additional amplifiers. Use of the 100K / 400K LOAD switch allows the tone of the pickup to be altered slightly, alternately brightening or darkening the high frequency content. When inserting an instrument with an internal preamp or a line level instrument such as a sampler or a keyboard, the 505-DI offers a 20 dB PAD switch to drop the level without loading, thereby retaining the integrity of the incoming signal. Features Wide Range Gain Control with 55dB of gain Front Panel Hi-Z Input Front Panel Thru routing TONE Control helps customize your sound BRIGHT Switch boosts clarity and presence 10 segment LED VU meter for monitoring output level Peak Output LED Indicator 20 dB pad switch, applies to mic/line/instrument 100K / 400K Switchable Load Traditional API fully discrete circuit design Uses the famous API 2520 and 2510 Op-Amps

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 offers the distinct API sound at an extremely affordable price. Offering low noise (-129 EIN) and 65 dB of gain, the 512c includes phantom power, and 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 into an API lunchbox®, API's 10 position 500V vertical rack, or an API console.The API 512c remains faithful to the circuit designs of API's founder, Saul Walker. Fully featured and still hand assembled, the 512c carefully preserves 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 points, it is equally at home in the commercial recording studio as it is in the home project studio.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 all API products. Features:Mic Preamp with 65 dB of gainFront and Back Panel Mic Input AccessLine/Instrument Preamp with 50 dB of gainFront and Back Panel Line/Instrument InputLED VU meter for monitoring output level20 dB pad switch, applies to mic/line/instrument48v Phantom switchable powerTraditional API fully discrete circuit designUses the famous API 2520 Op-AmpTechnical Specifications:Rear Connector:     Output on edge connector, MIC Input on edge connector, can be defeatedFront Connectors:     XLR MIC Input, HI-Z 1/4" Unbal InputGain Range:     MIC, 10 dB min, 65 dB max. Unbal HI-Z Input, 14 dB min, 50 dB maxMaximum Input Levels:     MIC, +8 dBu, Unbal HI-Z Input, +36 dBuInput Impedance:     MIC Input, 1500 Ohms (150 Ohm mic), HI-Z Unbal Input, 20 K OhmsOutput Impedance:     Less than 75 Ohms, Transformer BalancedClipping Level:     +30 dBuFrequency Response:     +0, -.3, 30 to 20 kHzNoise:     Equivalent Input Noise: -129, Mic In. -125, Un-Balanced In.Actual Metered Noise: Mic, -95 dBu, Un-Bal., -90 dBuDistortion:     Less than .05% @ +4 Out, Less than .1% @ +28 OutSize:     1.50" X 5.25" X 6" DeepShipping Weight/Actual Weight:     2 lbs./1 lb. 7 oz.Power Consumption:     ±12/18 Volts/DC, @40 ma.

Features Mic Preamp with 65 dB of gain Variable Output Level Control 3:1 Output Transformer Tap Selection Front and Back Panel Mic Input Access Line/Instrument Preamp with 45 dB of gain Front Panel Combo-style XLR + 1/4 inch Line/Instrument Input LED VU meter for Gain Level indication 20 dB pad switch, applies to mic/line/instrument 48v Phantom switchable power Traditional API fully discrete circuit design with 2520 Op Amp Features API's unique Five Year Warranty The API 512v is a mic / line / instrument preamp, world famous for its ability to provide a low noise (-129 EIN) and unusually good sounding front end for all types of audio applications. Sonically, it delivers the instantly recognizable API sound at an affordable price, and in the scalable API 500 Series format. Offering an impressive 65 dB of gain, the 512v includes front panel Variable Output control, switchable 3:1 output transformer selection, phantom power, switchable polarity, -20 dB pad, and Mic or Instrument/Line selector. The front panel Combo-style XLR and 1/4 inch connector combined with rear panel mic access allows for additional flexibility when installed into an API lunchbox®, API's 10 position 500V vertical rack, or into an API console. The API 512v remains faithful to the circuit designs of API's founder Saul Walker. Artfully combining those circuits with API's proprietary transformers and the incomparable 2520 op-amp, the 512v is a highly musical and rich-sounding analog mic pre, equally at home in commercial recording spaces as it is in smaller home studios. Fully featured and still hand assembled, the 512v exhibits the reliability, long life, and uniformity which are characteristic of all API products.

Originally released in the 70's, the API 525 is a "feedback" type compressor. An input (threshold) control and output (make-up gain) control are provided, along with an additional "Ceiling" fine-tune function which can increase gain reduction (lower threshold) while simultaneously raising output level to match, so the user can alter dynamics "on the fly" without level changes. A compression/limit switch sets ratio at either 2:1 or 20:1. Attack time is as fast as 15u/s. Four auto release modes are offered via two switches, 0.1s, 0.5s, 1.5s, & 2.0s. A De-Ess function inserts an inverse vocal energy curve filter in the detector for effective sibilance/pop reduction. The 525 design has been taken from the original blue prints and spec control drawings from the API archives.Release times vary with frequency, with high frequency / full bandwidth content released faster than lower frequencies 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 525 utilizes "vintage" dynamics control and an easy to use multi-function control set. The 525 has a hard-wire bypass switch, a balanced input, and a pinout that is the same as all the other 500 series modules. Two or more 525s can be linked for multi-channel compression.The API 525 Compressor makes use of the 2510 and 2520 op-amps and exhibits the reliability, long life, and uniformity which are characteristic of all API products. Features:Exact reissue of API's original 525 from the early 70'sPeak detecting "feedback" compressor/limiterVariable Threshold and Output levelsUnique "Ceiling" control combines key functionsAnalog VU meter for monitoring gain reduction4 Switchable release modesDe-Ess functionTraditional API fully discrete circuit designActive Balanced Input/OutputHardwire bypass Technical Specifications:Input Impedance:     > 30 K Ohms, BalancedOutput Impedance:     100 Ohms, Transformer coupled, BalancedOperating Levels:     -15 dBu to +20 dBuMaximum Gain Reduction:     25 dBNoise:     98 dB below +10 dBu output, at 10 dB of CompressionHarmonic Distortion:     0.5% Max, 30 to 20 kHzAttack Time:     15 micro secondsRelease Times:     .1, .5, 2.0, 2.5 secondsDe-essing:     Inversion of the Voice Energy CurveSlopes:     Compression, 2:1, Limit, 20:1Metering:     Compression or Limiting-Illuminated Analog dB meter, shows Gain ReductionFrequency Response:     ±.5 dB, 30 to 20 kHzPower Requirements:     ±12/18 Volts/DC, @80 ma.

Since the early 1970s and the subsequent re-issue over 20 years ago, the 525 Discrete Compressor has become one of the most trusted vintage-style compressors in the industry. Building on the powerful core circuitry of the original 525, the new 525A maintains the discrete audio path and expands the feature set for even more applications in the modern studio. It artfully combines API’s proprietary transformers, 2510 and 2520 opamps, retaining the sonic characteristics of the original while exhibiting the reliability, long life, and uniformity which is characteristic of all API products.

Features Feed-forward or feed-back compression Hard or soft knee compression Patented THRUST® switch for frequency-dependent sidechain control Continuously variable, 31 position detented THRESHOLD control Continuously variable, 31 position detented RATIO control Continuously variable, 31 position detented ATTACK and RELEASE controls Continuously variable, 31 position detented OUT (output) level control 10-segment gain reduction/VU meter (GR/Output) Overload LED IN switch with soft and hard relay bypass Audio circuit uses the 2510 and 2520 discrete op-amps   The API 527A Compressor/Limiter takes its place alongside the family of API VCA based compressors, including the 225L compressor and 529, 2500, and 2500+ stereo bus compressors. Anyone familiar with these units will immediately be at home with the 527A. Features common to the line include "feed forward" (NEW) and "feed-back" (OLD) gain reduction methods selectable on the front panel, provide a choice of "that old way" or "the new way" of compression, for the highest level of flexibility in signal gain control. The "old way" or feed-back method is what most of the classic compressors used for the gain control circuit. The "new way" gain reduction is more typical of the newer VCA type compressors that rely on RMS detectors for the gain control voltage. There is a "SOFT"/"HARD" knee switch for an "over-easy" type compression resulting in a very natural, uncompressed sound or a typical sharp knee type that lends itself to a much more severe limiting effect. The patented THRUST® function can be switched in and out via the front panel as well, applying a filter before the RMS detector circuit that preserves that punchy bottom end. Two or more 527A Compressor/Limiters can be linked together via a DC link allowing multiple units to be combined for stereo and multichannel applications. The output level remains fairly constant regardless of the threshold or ratio control, much like the "more/less" Ceiling control on the API 525 Compressor. This allows for live adjustments without any noticeable gain changes in the program level. The 527A Compressor/Limiter makes use of the 2510 and 2520 discrete op-amps and exhibits the reliability, long life, and signature sound which are characteristic of API products.

Features Continuously variable detented Gain, Threshold, Attack, Ratio and Release controls 10 segment LED meters show Gain Reduction and selectable Input or Output Level Over Threshold LED Patented THRUST® Switch for frequency dependent side chain control 3 selectable compressor curve Knee settings Selectable New or Old switch for feed-forward or feed-back operation Selectable variable or auto compressor make-up gain Three way In/Out including full hard relay bypass Audio circuit uses 2520 and 2510 Discrete Op Amps with transformer output The new 529 Stereo Compressor combines the unmistakable sound of API's compression technology with the convenience and popularity of the API 500 Series format. Carefully designed to deliver a wide range of compression options, the 529 delivers warmth, clarity and punch, whether used for subtle adjustments or heavy compression effects. Based on the unprecedented success of the 2500, the 529 takes many of the features and controls from API's famous stereo compressor and puts them into the first dual slot 500 series module from API. This stereo compressor features API's patented THRUST® circuitry for a punchy low end, along with an Old/New switch that lets you choose between classic and modern compression characteristics: Old for vintage-style feedback compression and New for today's more common feed-forward compression. The Auto-makeup Gain button lets you adjust ratio and threshold controls without affecting the output level. Using API's discrete op-amps and transformer technology, the 529 delivers the legendary analog sound of API. The 529 is backed by API's unique 5 year warranty.

535-LA Line AmplifierFeatures: Continuously variable detented input level trim Polarity button 20dB Input Pad Calibrated Level mode Output Ratio selector Clip LED indicator Continuously variable Output Gain Traditional API fully discrete circuit design Audio circuit uses the famous 2510 and 2520 Op-Amps Traditional API fully discrete circuit design Modeled after API's highly prized console-based 325 booster cards, the 535 can both amplify and attenuate incoming and outgoing signals for ultimate flexibility—all while providing API's trademark warmth and tone.The 535 excels at adding warmth to a variety of signals. Recommended uses include: Warm up digital signals of all kinds Add Tone to Keyboard rigs Add warmth to any mix Audio playback devices, mic preamps, or audio processing devices that do not have their own level control will also benefit from the added tone and control of the 535-LA.The 535-LA also includes a balanced input, a polarity switch, a 20dB pad for incoming signal attenuation and a three position toggle switch, which allows for different output gain levels from the transformer. This is designed to drive long balanced lines with low distortion just as the 325 booster card does. Output gain range is from 6dB to 45dB. The 535 utilizes the discrete 2510 and 2520 Op-Amps along with API's proprietary transformers to create the unique, warm and reliable sound that API users expect. Like all API products, the 535-LA features API's unique 5 year warranty.

API 550aDiscrete 3 Band EQFew equalizers enjoy the respect and admiration of the coveted API 550A. Designed by the now-legendary Saul Walker in the late '60s, the discrete 550A was first used as a modular OEM equalizer. As the industry rapidly embraced the sonic quality of the 550A, it quickly found its way into many custom console designs by Frank DeMedio and other leading engineers. Many of these consoles are still in use today.The 550A provides reciprocal equalization at 21 points in 7 steps of boost to a maximum of 12dB of gain at each point. The fifteen equalization points are divided into three overlapping ranges. The high and low frequency ranges are individually selectable as either peaking or shelving, and a band-pass filter may be inserted independently of all other selected equalization settings. Frequency ranges and boost/cut are selected by three dual-concentric switches, and a pushbutton "in" switch allows the EQ to be silently introduced to the signal path. A small toggle switch is used to insert the band-pass filter into the 550A.The combination of Walker's incomparable 2520 op amp and his "Proportional Q" circuitry gives the 550A user an uncomplicated way to generate acoustically superior equalization. Features:    3 bands of classic API equalization    Each band offers 7 API selected frequency centers    Reciprocal and repeatable filtering    Maximum 12 dB of boost/cut per band    EQ Band 1 and 3 offer shelf/peak switching    "Proportional Q" narrows filter Q at extremes    Traditional API fully discrete circuit design    High headroom +30 dB clip levelTechnical Specifications:    Input Impedance:     66 kΩ high level, 17 kΩ low level   Output Impedance:     Less than 85Ω (transformer isolated)   Nominal Operating Level:     –15 dBm to +12 dBm   Insertion Loss:     None (bridging)   Frequency Response, Unequalized:     ±0.5 dB 30 Hz to 20 kHz   Noise:     Unequalized, output noise of –90 dBm, high level strapping and, –98 dBm, low level strapping, 20 Hz to 20 kHz unweighted   Distortion:     .05% THD max, 30 Hz to 20 kHz @ +4 dBm, .07% THD max, 30 Hz to 20 kHz @ +18 dBm   Clipping Level (3% THD):     +30 dBm   Power Requirement:     ±15 volts to ±18 volts @ 70 ma                        Toggle Switch:50 Hz to 15 kHz band-pass filter In or out                        Push Button: LF range Peak or Shelf                         Push Button: HF range Peak or Shelf                        Push Button: Equalization In or Out                        Tally light when In   Connector:     30 pin PC connector supplied   Size:     1.5" X 5.25" X 7.75" Deep   Size (Boxed for Shipping):     4.5" X 6.25" X 10.25"   Actual Weight:     2 lbs.   Shipping Weight:     2.53 lbs.

Based on API's original 550 from the late '60s, the API 550b is a continuation of the EQ that played a major role in the history of music recording, but with an additional filter band and several new frequencies. Incorporating API's exclusive circuitry and proprietary components (such as the legendary API 2520 Op Amp), the 550b artfully blends the past with the present. So many hit records still depend on the unique 550 sound that engineers around the world find it to be an invaluable tool. In fact, the 550b design has been taken from the original blue prints and spec control drawings from the API archives. It is unlike any other EQ you will ever use.Rather than offer a huge assortment of complex features, the API 550b provides exactly the right number of controls. Its four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening device with each band offering seven switchable filter frequencies that span four-to-five octaves. These frequencies, purposely selected to be musical rather than numeric, were selected by an experienced "who's who" list of the industry's most proficient engineers.Making use of API's "Proportional Q," an innovation designed by Saul Walker in the '60s, the 550b intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings without the need for additional bandwidth controls. This unique feature minimizes the "phase-shift" sound found in many equalizers. In addition, the reciprocal nature of the 550b enables the user to "undo" what has been done previously with exact precision.The benefits of the API 550b are most obvious to those who work with EQ on a continuous basis. If major tonal restructuring is required, the extraordinary headroom made possible with API's 2520 Op Amp offers the predictable and warm analog performance, even under duress. With a surprisingly wide range of tonal variations, the 500b is an invaluable and professional audio tool with great flexibility and excellent sonic ability. Features:Four bands of our famous sounding equalizationEach band offers seven API selected frequency centersReciprocal and repeatable filtering12 dB of boost/cut per bandEQ band 1 and 4 offer shelf/peak switching"Proportional Q" narrows filter Q at extremesTraditional API fully discrete circuit designHigh headroom +30 dB clip levelRe-issue of 1967 API 550 EQ with an extra bandTechnical Specifications:Number of Bands:     FourFilter Type:     "Low" and "High" bands are Peak/Shelf switchable. Low-Mid and Mid-High are peaking typeFilter Frequency Centers:     Low: 30, 40, 50, 100, 200, 300, 400HzLow-Mid: 75, 150, 180, 240, 500, 700, 1KhzMid-High: 800, 1.5K, 3K, 5K, 8K, 10K, 12.5KHigh: 2.5K, 5K, 7K, 10K, 12.5K, 15K, 20KFilter Boost/Cut:     ±12 dBFilter Slope:     12 dB per OctaveInput Impedance:     18.5 K +4 in, 7.5 K -2 inOutput Impedance:     Less than 75 OhmsNominal Levels:     -15 to +15 dBuClipping Level:     +30 dBu @ ±16 VFrequency Response:     +0, -.3, 30 to 20 kHzNoise:     Actual, unw noise, <-98 dBu, 20-20 kHzDistortion:     .07% max, @ +18 dBu OutputConnectors:     15 position .156sp edge connectorSize:     1.5" X 5.25" X 6" DeepShipping Weight/Actual Weight:     3 lbs./2.5 lbsPower Consumption:     ±12/18 Volts/DC,@ 40 ma.