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How to Choose 500-Series Gear

Fri, 03 Jul 2020 23:03:09 GMT

500 Series gear lets you pick, mix, and match components to create a setup that’s space-conscious, modular, flexible, configurable, customizable, affordable, and offers you the best of the best in analog sound quality. We have the experience and knowledge to help you choose the 500 Series gear that best suits your needs, tastes, and budget. Give us a call at (305) 595-3002.

Your 500 Series rig all starts with the chassis, more commonly called a 500 Series rack . Each module fits into a slot in your rack (some modules may span 1 or even 3 slots), and racks come in many configurations ranging from two to 10 slots. Some are tabletop units, and others are designed to mount in a standard 19″ equipment rack. Your 500 Series rack isn’t just the housing for your modules, it’s their power supply and their primary I/O, commonly including either multichannel DB-25 connectors or discrete balanced I/O such as XLR or TRS jacks. Some 500 Series racks include complex signal routing, including internal patching, stereo linking, and even full audio summing.

500 Series preamps come in the form of vintage tube designs, classic solid-state console re-creations, and unique creations that offer an expanded range of tone shaping and coloration. Whatever type of mic preamp you want, it’s probably available in a 500 Series module. Most of these preamps provide 48V phantom power and include a hi-Z instrument input, and impedance-matched ribbon mic inputs are fairly common as well. Some 500 Series preamps even add channelstrip elements such as EQ and dynamics processing, adding even more value for the real estate.

Many 500 Series compressors are based on classic models, which have been redesigned to fit into the 500 Series format. You can choose from a number of types, ranging from opto to VCA to FET models. Many 500 Series compressors include sidechain capability and stereo linking unavailable in the original compressor designs. Despite their scaled-down size, you’ll still find detailed VU metering and all the controls you’d expect. What’s more, 500 Series dynamics processors today include many original designs, as manufacturers take advantage of this low-cost format to try out unique approaches to compression, expansion, and more.

500 Series equalizers range from classic parametric designs to precision graphic EQs, with a selection of specialty frequency shapers in the mix as well. In most cases, these EQs are as close to the actual EQ sections of the consoles that inspired them as it gets, including many of the most popular 3- and 4-band parametric EQs in music-production history. Some of these models even allow for greater tone-shaping freedom than ever right inside your custom 500 Series rig.

There's a wide selection of 500 Series effects processors from digital delays and harmonic generators to analog distortion boxes and much more. They're perfect for live signal chains, and some creative guitarists use 500 Series gear as part of their live rigs. Along with effects modules, the number of 500 Series specialty processors and signal routing tools available in the 500 Series format continues to grow rapidly. Impedance-matching direct boxes, reamping systems, headphone amps, and even mixers allow you to create complex signal flows for specific applications. These specialty modules are particularly handy for integrating guitars into your rig, but they’re also ideal for tasks such as analog summing a signal distribution. If there’s a need, then there’s probably a 500 Series module for it.

How 500-Series Modules Can Revolutionize Your Studio

Fri, 03 Jul 2020 21:44:17 GMT

500-Series Equipment is arguably the best option for getting high-quality recording equipment on a tight budget.

What is 500 Series Equipment?

The 500 Series is a modular analog format for audio equipment that was originally invented by API in the 1970s. While the history is somewhat convoluted, how it works is relatively simple. An individual module (such as a preamp) is inserted into a rack that provides it with the power to operate. Each module is the same size (5.25” tall x 1.5” wide) and the power rack can hold multiple modules. This power rack can then be placed on top of a desk, in a standard 19” rack, or carried around to any location required. The power rack has both an input and an output for each module so audio can get to and from the module.

How Does it Revolutionize the Studio?

500 Series equipment allows an unprecedented level of customization. Engineers can ‘mix-and-match’ products from different manufacturers, making it much more flexible than traditional studio designs based around a console. For example, if you want an API preamp in your signal chain followed by an SSL EQ, you can now have both instead of having to choose one or the other and buy a whole API or SSL console. This format allows you to effectively build your own customized high-end channel strip that fits your needs, complete with preamps, EQs, compressors, DIs, and a whole range of other tools to process your audio. 500 Series racks also fit in a 1U-3U rack space, saving valuable real-estate in small home studio control rooms without sacrificing quality or flexibility.

While 500 Series equipment can get pricey (the average module falls between $500 and $1500 USD), it offers professional grade audio quality in a much more affordable package than buying a console. Connecting 500 series equipment to most consumer-grade audio interfaces is quite simple as well: just connect the XLR outputs on the power rack to the line-level inputs on your interface. You can get great sound in a matter of minutes.

If you like the idea of building a studio around 500 Series equipment but don’t know where to start, I have a few recommendations for you. First and foremost, do some heavy reading on the equipment. As the format has grown in popularity, more and more manufacturers have made 500 Series versions of their equipment. Major manufacturers like Neve, SSL, and API all produce 500 Series equipment, as well as some of the lesser-known companies like Avedis Audio, BAE Audio, Purple Audio, Warm Audio, Radial Engineering, Chandler Limited, Heritage Audio, and more. Find the modules that are right for you and your studio.

I also recommend buying the power racks that fit in a 19” rack, as they are usually the 8 or 10 module racks and provide you with plenty of room to expand as you build up your collection of 500 Series equipment. In addition, they integrate nicely with any rack-mount gear you may already own, such as an audio interface, keeping your studio clean and organized. If you’re reading this and already own a smaller 500 Series power rack, don't fret: most manufacturers make rack ears for them that allow you to easily mount them in a 19” rack.

Lastly, consider hiring a professional engineer or studio design consultant to advise you on your purchase if you are not technically inclined or are making a jump to a much more expensive system. They will be able to recommend both equipment and methods of incorporating it into your studio that you may not know about. A few hundred dollars for a few hours of an expert’s time can save you thousands of dollars down the line. However, if you do plan to design your studio on your own, feel free to use the examples in this article as a starting point. They are by no means comprehensive, but they will give you a basic idea of how to implement 500 Series equipment in a creative and efficient way.

Studio Equipment

Fri, 03 Jul 2020 20:49:22 GMT

Top of the Line, Industry Standard Studio Equipment.

CONSOLE

• Solid State Logic 8000G+ 56 Channels,

- 32 E-eq, 24 G-eq, Ultimation and Total Recall

- THD-LABS Tangerine Automation Interface

- Atomic Instrument PSU

• Solid State Logic 4000E/G+ 32 Channels

- 32 242 E-eq (Black), Total Recall

- THD LABS Tangerine Automation Interface

- Atomic Instrument PSU

• Solid State Logic - Matrix Console

MIC PRES | EQs

• Neve - 1073 (4)

• Neve - 1081 (4)

• BAE - 1023 (2)

• BAE - 1073 (2)

• DW Fearn VT2

• Calrec - PQ1161 (4)

• API - 3124+ (4 preamps)

• BAE - API (2)

• Rupert Neve Designs 511

• API - 550a EQ (6)

• API - 560 graphic EQ (2)

• Manley - Massive Passive Mastering Version

• Manley - Massive Passive

• Pultec - EQP-1S3 (2)

DYNAMICS

• Shadow Hills Mastering Compressor

• Universal Audio LA3A (pair)

• Smart Research C1LA

• SSL G Quad Compressor

• Retro Sta-Level

• Dramastic - Obsidian 500 (2)

• Tube-Tech CL1B (3)

• Manley - Vari-Mu (2)

• Rupert Neve Designs Master Bus Processor (2)

• UA - 1176 Rev. A/Blue Stripe (4)

• Empirical Labs - DerrEsser

• DBX - 560A (2)

• Empirical Labs - DerrEsser

• Empirical Labs - EL8X Distressor (4)

• Anamod - AM660

EFFECTS

• AMS Neve DMX 15-80S Delay

• Bricasti M7 Reverb

• Lexicon 224 XL

• Lexicon PCM42 (2)

• Lexicon PCM70

• Eventide H3000 D/SE

• TC Electronics 2290

RECORDERS

Digital Recorders

• Apple - Mac Pro 12-Core Computer (5)

• Avid - Pro Tools Ultimate

• Avid - HD I/O 16x16 (5)

• Avid - Pro Tools HDX PCI-e (2)

• Avid - Pro Tools HD Native PCI-e (2)

• Burl - B2 Bomber ADC (2)

• Burl - B2 Bomber DAC (2)

• Universal Audio - UAD-2 Octo PCI-e (4)

Analog Recorders

• Studer A827 2″ 24-Track Tape Machine

• Endless Analog CLASP

• Sony APR-5000 1/2” 2-Track Tape Machine

MONITORS

Studio Monitors:

• Dynaudio - M3A Mains (3-way)

- Bryston - 14BST (low-end)

- Bryston - 4BST (high-end)

- XTA - DP226 DSP Crossovers

- Dolby Lake LM26 Processor

- 18" active subwoofer (2)

• Yamaha - NS10 (near-fields)

• RCA - X44AV (mini)

• Hear Technologies Hearback System

• Dynaudio - BM14S (12” Subwoofer)

• Yamaha - NS10 (near-fields)

• RCA - X44AV (mini)

• Dynaudio M1 (near-fields)

• Genelec - 7071A (Dual 12" Subwoofer)

• Dynaudio - BM15A

PLUGINS & SOFTWARE

• Avid - Pro Tools Ultimate

• Waves - Mercury + SSL

• UAD - Plugins (too many to list)

• Fab Filter (all)

• Native Instruments - Komplete Ultimate

• Slate Digital - All Plugins

• Steven Slate - Trigger

• Sonoris - Mastering Equalizer

• Autotune - Live, Pitch+Time

• Celemony - Melodyne Editor

• iZotope - RX7 Noise Reduction

• Arturia (too many to list)

• Valhalla DSP - Vintage Verb

• Relab - LX480 Reverb

• Sonnox - Oxford Limiter

MICROPHONES

Tube Mics

• Neumann U67

• Sony C800G

• Upton ELA M 251 (2)

• Manley Reference Cardioid

• Bock Audio 251

• Pearlman 47 (K47)

• Peluso P12 (x2, matched pair)

Condenser Mics

• Neumann U87 (x2, matched pair)

• Neumann KM184 (x2, matched pair)

• Neumann U47 FET (Lawson)

• AKG 414 (x2, matched pair)

• AKG 451 (x2, matched pair)

• CAD M179 (2)

• DBX RTA Mic

• MXL R-77-L (2)

• Shure SM81 (x2, matched pair)

Dynamic Mics

• AKG D12

• AKG D112

• Audix D6

• Audix i5

• Beyerdynamic M160

• Beyerdynamic M201 (2)

• EV RE20

• Sennheiser MD421 (3)

• Shure Beta52

• Shure SM7

• Shure SM57 (7)

• Shure Beta91

• Yamaha SubKick

INSTRUMENTS

Acoustic Instruments

• Yamaha C6 Grand Piano (6 ‘ 11″)

• Pearl Session Custom All Maple

• Tama Starclassic Birch/Bubinga Kit

• Mapex 16″x 20″ Orion Maple/Walnut Kick

• Ludwig 16″ x 24″ Vistalite Kick

• Over 10 Snares of different types: Classics such as Black Beauty, Bell Brass, etc...)

Guitars & Amps

• Guitars/Basses: Fender, Gibson, Jackson, Martin, Music Man

• Kemper Profiler PowerHead 600W

• Fender Bassman (Vintage)

• Fender Deluxe (Vintage)

• Fender Twin (Vintage)

• Vox AC30

• Mesa Boogie Mark IV

• Peavey 5150 combo

• SWR SM900 full stack

• Marshall Zak Wylde Mini Stack

• Crate Vintage Club 30

• Various guitars, effects and more…

Guitar Effect Pedals

• Walrus Audio: Bellweather, Red, Julia, Warhorn, Jupiter MKII, Monument

• Strymon: Big Sky, Timeline

• JHS Double Barrel

• Dunlop|MXR: Echoplex, Carbon Copy, Crybaby Wah

• Fulltone OCD

• Boss TU-3, NS-2

• ISP Decimator

Digital Instruments

• Line6 Bass Pod Pro

• Tech21 Sans Amp PSA-1

• Rocktron Phantom Cab Speaker Simulator

• Roland XV-5080 (with 8 expansion cards)

• Korg Triton Extreme 88 keys

• Alesis DM5 Trigger to Midi Unit