The Empirical Labs DerrEsser is a top-quality de-esser and limiter for high frequencies. The filters used for this alone are worth the money. Horizontal version.
The IGS Audio Tubecore 500 is a 500-series tube compressor module. The vacuum tubes and transformers in the input and output provide a pleasant sound.
IGS Audio's NE573 is a microphone preamplifier based on a certain classic model, but in 500-series format. On the front panel is an XLR/Jack combination socket.
The IGS Audio A-Type 525 is a 500-series compressor module. With its unique 'Compress' knob, you can adjust both the Gain and Threshold values in no time.
The IGS Audio 573EQ is a 500-series equaliser module inspired by the legendary Neve 1073. The characteristic sound, with its warm analogue timbre is now available in a compact 500-series module.
IGS Audio's 572 Red Stripe is a 500-series preamp for microphones or instruments that runs entirely on tubes. As a result, when you overdrive it a little, you get a wonderfully warm, analogue saturation.
The BISON 500 from IGS Audio is a powerful tool for analogue mixing in stereo. When you connect two mono compressors or a stereo compressor, you can apply mid/side and parallel compression.
The IGS Audio EQM500 is a compact problem solver in the world of analogue equalisers. It can be mounted in a 500-series rack cabinet.
IGS Audio's iQ505 is the all-rounder among analogue equalisers. Despite this, it takes up only a single slot in your 500-series cabinet.
The Photon 500 from IGS Audio is an analogue optical compressor in 500-series format. It is based on the legendary optical compressor technology from the 1960s.
The IGS Audio Alter 500 FET compressor is a 500-series module inspired by the legendary UREI 1176. This compact compressor is packed with useful features.
The IGS Audio Rubber Bands is an analogue equaliser in tiny size: just a single slot in a 500-series cabinet. With controls based on the legendary Pultec equalisers.
IGS Audio's Vanad 500 is a preamp that can be used for microphones as much as instruments. 'Re-amping' of previously recorded tracks is also possible.
Rupert Neve R6 19-inch rack for 500-series modules with 6 slots, a powerful power supply, XLR/TRS/DB-25 connectors and a robust chassis. A reliable and flexible solution for professional studio setups.
Powerful 500 series mic/line preamp with EQ, discrete opamps and Lundahl transformers for professional studio sound.
Preamp for line-level sources with vintage opamps, delivers up to 70 dB of gain and analogue warmth for synths, drum computers and DAW tracks.
Mobile sequencing and creative gating in one compact, modular studio solution.
In an ideal world, we wouldn't even need EQ. But, since unicorns don't exist, we're glad that a high-quality 3-band parametric EQ like the DBX 530 does.
To really fatten up the low-end of your mix, you need the DBX 510 Subharmonic Synth. Compatible with 500 Series racks, this unit fleshes out your set-up and will happily boost individual channels or the total mix as needed.
This DBX 580 allows you to excellently amplify the signal of your microphones. It is equipped with a two-band EQ, a variable low cut and an instrument input. Amplifies your signal with up to 60 dB!
Analogue stereo gater/ducker with step sequencer for creative rhythmic dynamics in your studio setup.
Ultra-portable housing with extensive connectivity and +26 dBu headroom; suitable for any creative modular system.
Small as it may be, the Golden Age Audio Pre-573 Premier shapes that big, warm and old-school sound. This premium preamp is compatible with 500 Series racks and features a filter and Air EQ function.
Add the Meris 500S 440 MIC PRE module to your 500 series rack and gain immediate access to the pure American 'console tone' that can be heard on countless popular records from the 1970s.
Discrete opamp for 500 series modules, ideal for studio use.
API 212L microphone preamplifier L200 format with stepless gain control. Frequency range: 30 Hz - 20 kHz.
API 205L direct input L200 format with Hi-Z instrument input on front. Frequency range: 30 Hz - 20 kHz.
API 215L passive low-pass 6 dB per octave and high-pass 12 dB per octave sweep filter with 2510 and 2520 op-amps.
API 225L Compressor with OLD/NEW compression model and 2510 and 2520 op-amps.
API 235L discrete noise gate with expander function and equipped with 2510 and 2520 op-amps.
The 529 stereo compressor by API gives you the sound of the renowned 2500 compressor in the size of a Lunchbox. It has everything that make API compressors so unique, including Op Amps and Thrust functionality.
The Empirical Labs DerrEsser de-esser has a unique design that works independently of the input vineau. This transparently attenuates 'S' sounds in both hard and soft passages. Vertical version.
The Empirical Labs DocDerr has three circuits on board: a four-band eq, a compressor and a tape saturator. And all in a 500 series module. This is the vertical version.
The API Audio 550A is a reference EQ with the famed Proportional Q and is part of the API-500 lunchbox system. This is a parametric EQ with 3 overlapping bands and each of the frequencies can be tweaked plus or minus 12dB.
Ripped out of the SSL 4000 B console, the SSL 4K B Dynamics 500 compressor/gate/expander module delivers richer and more colourful sonic character than the ultra-clean E-Dyn module, and does it all from a 500 Series rack compatible box.
The Black Lion Audio Seventeen 500 is a '76-style compressor that keeps up with the times and lets you subtly work in that legendary FET-based sound thanks to a built-in side-chain filter and mix control.
The Black Lion Audio Bluey 500 limiter/compressor is an ultra-accurate reproduction of the original 'Bluey' that was raised to legendary status by Chris Lord-Alge's heavy modifications.
In terms of function, the Lindell Audio 6X-500VIN looks much like the 6X-500, but besides the paint-job, the difference lies in the Vintage 1731 amp able to season the output of this equaliser with fully matured flavour.
While it looks a lot like the mono 7X-500, the Lindell Audio 77X-500 is a stereo studio problem-solver able to take on mixbuses as well as a set of drum overheads.
